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After years in the shadows, THE GOAT returns. LA CHEVRE is back with CHE007 - three powerful edits by MOOGLY, already making serious noise in clubs and underground after-hours, supported by key figures such as Chez Damier, Dawidu, and many more.

Bei dem Album ‘November 89’ handelt es sich um eine Auswahl von sehr frühen GAS Stücken, die zum Teil noch in den späten 1980er Jahren entstanden sind. Sie wurden erstmalig 2008 als CD-Einleger in dem Kunst Bildband Wolfgang Voigt GAS auf Raster Noton veröffentlicht.

Ebenso wie bei den Fotos im Buch handelt es sich bei den Stücken um frühe Vorläufer-Werke,

die in den Folgejahren mit den Alben ‘Zauberberg’ und ‘Königsforst’ zum stilprägenden, audiovisuellen Gesamtkunstwerk aus hypnotisch-fokussierten Waldbildern und abstrakt-psychedelischem Soundrauschen aus Alphorn und Bassdrum werden sollten.

Nun gibt es das Album erstmalig auf Vinyl. Damit wird die bisherige GAS Vinyl-Serie um das bisher fehlende „Erste“ Album quasi vervollständigt.

Das Covermotiv nimmt direkt Bezug auf das 1999 erschienene Album Oktember. Das sehr hypnotisch-verdichtete Waldmotiv war Grundlage für einen der ersten Waldloops Oktember, die es über die Jahre zunehmend in internationale Galerien und Kunstspielstätten geschafft haben.

Teil der Album-Veröffentlichung November 89 sind 2 Siebdruck-Editionen (je 30 + 3A.P.)

Edition 1 - November 89 - 2026 / 30cm x 30cm Siebdruck, Klebeband auf Aluminiumplatte.

Edition 2 - November 89 - 2026 / 30cm x 30cm Siebdruck, Klebeband auf Papier.

Beide Editionen bestehen aus je 3 x 10 nicht priorisierten Farbvariationen.

Die Editionen sind exklusiv nur über Kompakt erhältlich.

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The album ‘November 89’ comprises a selection of very early GAS tracks, some of which date back to the late 1980s. They were first released in 2008 as a CD insert in the art book ‘Wolfgang Voigt GAS’, published on Raster-Noton.

Just like the photographs in the book, these pieces are early precursors that would evolve in the ensuing years with the albums ‘Zauberberg’ and ‘Königsforst’ into a style-defining, audiovisual “Gesamtkunstwerk” (total work of art) comprising hypnotically focused forest imagery and an abstract, psychedelic wash of sound created by alphorn and bass drum.

The album is now available on vinyl for the first time. This effectively completes the existing GAS vinyl series by adding the "first" album, which had previously been missing.

The cover art makes direct reference to the album ‘Oktember’, released in 1999. The highly hypnotic, dense forest motif served as the basis for one of the first ‘Oktember’ Waldloops (forest-loops) works that have increasingly found their way into international galleries and art venues over the years.

The ‘November 89’ album release includes two screen-print editions (30 copies + 3 A.P.s each).

Edition 1 - November 89 2026 / 30 cm x 30 cm Screen print and adhesive tape on aluminum panel.

Edition 2 - November 89 2026 / 30 cm x 30 cm Screen print and adhesive tape on paper.

Each edition consists of three sets of ten color variations, with no specific hierarchy among them.

These editions are available exclusively through Kompakt.

Three musicians, three worlds: raga, jazz, and their own imagination. East, West, and the fusion in between. Rhythm, melody, and harmony. Past, present, and future.With 3, Ragini Trio experiences a rebirth - after years of deep exploration into long-form ragas, South Indian Carnatic traditions, konnakkol, and Western jazz.Thirteen years after their debut, this album stands as an homage to both worlds. By refusing to play things "as they should be played," Ragini Trio finds the in-between space - that magnetic tension where jazz and Indian classical music meet and transform each other.



Inspired by the traditional Indian trio of tabla, flute, and tanpura, Ragini offers its mirrored jazz response: drums, saxophone, and double bass. The result unites jazz, which seeks freedom within structure, with raga, which seeks structure within freedom. Far from purism or imitation, Ragini Trio crafts a living dialogue between rhythm, melody, and tone colour.



And it's a statement. Bursting with energy, depth, and self-irony, 3 is a vibrant antidote to the algorithmic recycle-music of today and tomorrow - born from the chemistry of three exceptional artists: saxophonist Nathan Daems, drummer Lander Gyselinck, and double bassist Marco Bardoscia.

2026 Repress

Deetron is a venerated veteran who has been crafting sublime house and techno for three decades on a range of influential labels. 2025 brought another busy year for him, with another standout EP on Ilian Tape followed by his latest album which landed via Running Back in October. Back in 2024, he dropped his 'Translate Rhythms' EP on Mutual Rytm's X series and now takes charge of the second release on SHDW's new sub-label Mutual Rytm Raw - following the first 12" 'You And Me', which was a true summer anthem courtesy of KiNK & Raredub.

In its original form, the bright, expressive 'Flow' is a fulsome techno cut that pairs a driving rhythm with sophisticated synths. It sparkles with cosmic energy, while a textured, screwy lead winds through the mix and euphoric female vocals burst out to big emotional reactions. The 'Chord Dub' is a tight, bouncy rework with vamping chords lighting up the drums with real warmth and soul, while the 'Breakbeat Mix' fizzes with rich, old school energy. The dusty breakbeats demand physical reactions, while the pads bring a grand sense of scale and the vocals tug at the heart. All three are classy, effective and offer yet more timeless sounds.

Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a telephone pole for all to see. Bold, personal, and autobiographical, Anticipation announces the arrival of an artist who won’t back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while also giving yourself to a partner. Simon’s connection to her folk roots would never be stronger.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. Audiophiles and record collectors, take note: This is the first time Anticipation has been available on 45RPM. The wider grooves and dead-quiet surfaces prove extremely rewarding.

The rhythmic framework anchored by session pro Andy Newmark’s drumming sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expansive responsiveness. And just as Simon’s vocals feel more transparent and direct, so, too, do the supporting choral arrangements.

Released before the singer-songwriter movement reached full bloom, Anticipation remains remarkable for the high-quality songwriting and Simon’s gutsy stance. The album cover — depicting the vocalist holding the gates at Queen Mary’s Garden in Regent’s Park and seemingly defying anyone to take her on — serves as a metaphor for the content within.

Known for having relationships with high-profile partners, Simon was heavily involved with Cat Stevens leading up to the recording of Anticipation. She draws from her experiences to craft tunes that resonate because of their honesty, realism, and strength. Few of those moments are better known than the Top 20 title track, which Simon composed in just 15 minutes as she waited for Stevens to pick her up for a date. Imbued with the nervousness, tension, and excitement that accompany the moments when a romance could go either way, the Grammy-nominated song presages the feminist-minded vulnerability and burning longing that informs a majority of the record.

On the soulful “Legend in Your Own Time,” also inspired by Stevens, Simon harnesses yearning as a conduit to feel-good paradise. Deemed by Rolling Stone an “absolute clincher, an awesome description of the psychic ravages of gone-nuts, know-nothing love,” her cover of Kris Kristofferson’s “I’ve Got to Have You” moans with no-holds-barred desire and breathtaking sensuality.

For all the wanting Simon pursues on Anticipation, her way of staying in control — vocally and personally — make the record a courageous statement of contemporary femininity. For further evidence, look to the bossa nova of “Summer’s Coming Around Again,” somber “Share the End,” soothing “Three Days,” and sincere “Julie Through the Glass,” a tribute to her young niece.

Simon would achieve international fame with her next album, No Secrets. Yet as this definitive reissue shows, Anticipation suggests the rest of the world was just a little late catching up to her.

In 2023, Kraków-based composer Martyna Basta and Los Angeles-based sound artist claire rousay were invited to Poland by Unsound for a short residency, where they spent a few days trading ideas and concepts, and brainstorming their first collaboration. Initially motivated to create lengthy, expansive pieces together, they also ended up experimenting with shorter vignettes, and ‘hotel room’ expresses these two extremes, featuring three long-form tracks and three brief, euphoric songs. “It wasn’t something we specifically planned,” explains Basta. “It just unfolded that way.” The most important stage of the process, however, was the period that followed the residency, when rousay and Basta began working on their sketches in isolation, trading drafts and sculpting the sounds independently before rousay handled the final mixdown. In the comfort of their own bedrooms, they were better able to reflect their individual creative routines, organically reaching a junction where their music felt truly unified. Even while they were in Poland, the duo joked that it might have been easier if they’d been holed up in separate rooms emailing each other.

Both artists have had an energetic few years: after steadily building a reputation for her diaristic and candid concrète experiments, rousay signed to Thrill Jockey in 2023, releasing the acclaimed ‘sentiment’, ‘a little death’ and the more eaze collaboration ‘no floor’; Basta, meanwhile, followed up 2023’s hallucinatory ‘Slowly Forgetting, Barely Remembering’ and her debut for Belgium’s Stroom imprint, ‘Diaries Beneath Fragile Glass’ with a studio album on !K7’s 7K sublabel: ‘Winged in Collapse’. The title of their collaboration reflects rousay and Basta’s hectic touring schedules in the wake of these releases, the constant feeling of displacement and the emotions that emerge when the environment is in flux. “I know we aren’t the only musicians traveling and creating work at the same time,” says rousay, “but being able to speak about that experience and all the things that come with it was comforting.” And the music itself, assembled from hypnagogic field recordings, spectral voices, electronics and filtered instrumental improvisations, sounds bewitchingly unmoored, not tied to a specific location but hovering around the uncanny space in-between.

Scratchy ASMR sounds introduce us to the opening track ‘zoom’, initially obscuring the duo’s elegiac harmonies. They are careful to let the various elements evolve at their own pace, with the fictile guitar drones melting into the foreground while Basta’s dissociated whispers and rousay’s illusory synths pick out the subtlest subliminal shades. It all builds to the piece’s dramatic third act, when layered chords ring out like organ blasts, enveloping the negative space. The shorter, more anxiety-provoking ‘denim’ is remarkably divergent, a dismantled folk memory pieced together from skeletal piano notes, vaporous choral echoes, haunting string plucks and pulsating feedback. Where the music aligns is in the mood itself, capturing a feeling that’s neither completely abstract nor fully referential. Not ambient exactly, ‘hotel room’ is a suite of soundscapes that gesture towards structure while repeatedly folding in on themselves.

On ‘Lost and Found’, wordless Autotuned ad-libs spiral around delicate guitar plucks and washing waves, coalescing into a faded Polaroid of opiated Americana, and on ‘Where Are You Now’, operatic squeals and corroded orchestral scrapes are juxtaposed with nauseous low-end tones. Evaporating until only industrial whirrs and music box chimes remain, the latter encapsulates the entire album’s chilling liminality, smudging saturated voices with casual electro-acoustic interjections before it erupts abruptly, transforming into a dense, pitch-skewed hymn. ‘hotel room’ plays like a surreal travelogue, teasing listeners with airy familiarities as it humidifies dry, awkward spaces. More a labyrinth of catacombs than a single, fixed chamber, it’s Escher-like – cryptic and seductive – and decked out with personal asides and intimate details that reward the most patient, curious listeners.

Body2Body's first release is from its three founders: Elia, Nikizi and Axel. Three friends who've spent the last 6 years making music together. The label is new. The friendship isn't. Four tracks, each one its own room. Nikizi opens with a fearless, percussive-driven groove. Axel follows with classic, raw bassline-driven depth. Elia brings a hypnotic groove with subtle vocal infusions. Oclock closes with a jazzy hip-hop turn with tantalising vocals. A debut for the long bag. Made for the kind of nights that don't end early.

Molecular Recordings proudly announces the release of "Structure Series 1," a special vinyl collection marking the label's 30th anniversary.

This release features unreleased tracks from both veteran artists and emerging producers, highlighting the label's ongoing commitment to innovative and high-quality techno music.

For three decades, Molecular Recordings has been a leader in the techno scene, continually pushing the genre's boundaries and redefining its sound. "Structure Series 1" is a testament to this legacy, blending the work of established artists who have shaped the label’s history with fresh talent poised to influence its future.

"Structure Series 1" is more than a collection of tracks; it is a celebration of Molecular Recordings' journey and a glimpse into its future. This release commemorates 30 years of musical innovation and signals the beginning of a new chapter in techno.

Molecular Recordings Presents "Structure Series 2" — Continuing a Legacy of Techno Innovation

Following the success of the first volume, Molecular Recordings returns with Structure Series 2, the next chapter in its celebrated vinyl series that honors the label’s enduring influence on underground techno.

This 12" release deepens the label’s exploration of forward-thinking sound, pairing iconic names from the Molecular archive with groundbreaking contributions from the new vanguard of producers. Each track reflects the uncompromising spirit and sonic evolution that have defined the label for over three decades.

Structure Series 2 is both a continuation and a progression — a curated fusion of past and future that underscores Molecular’s role as a pioneer and incubator of techno culture. It stands not only as a collector’s item but as a bold artistic statement.

With Structure Series 2, Molecular Recordings reaffirms its commitment to pushing boundaries while remaining rooted in the authenticity that has shaped its legacy since day one.

Several years ago, the Disco Records DJ Crew members got their hands on a couple of original 70s obscurities, while these standout records shone brightly in their own right, the team finally decided to put them out as those obscure old records fetch eye-wateringly high prices on the second-hand market. Due to popular request & lovingly mastered to the highest possible standards, they are now available to play and share in very special moments at parties around the world. This will surely be one of the most keenly anticipated disco release of the year. For our first release, we are extremely proud to bring you at last, three very hard to find disco anthems on sides A & B in their glorious full extended versions

Jonny L returns with this phenomenal three tracker EP. As always, Jonny brings innovation and class to everything he touches, smashing out gorgeous tracks with live vocals such as In Mind and UR Seeing U, but also dropping hard hitting dancefloor destruction with Log Long Time.

Jonny L returns with this phenomenal three tracker EP. As always, Jonny brings innovation and class to everything he touches, smashing out gorgeous tracks with live vocals such as In Mind and UR Seeing U, but also dropping hard hitting dancefloor destruction with Log Long Time.

Alex Jungle returns to Kniteforce after a small break, with some BIG breaks. Chapter Two (there is no Chapter One...yet) sees Alex drop four incredible breakbeat tracks, leaning into the happy vibe but always tough and technical and with a style unique to himself..the only thing better than this Chapter Two Ep would be...Chapter Three....

Eclection’s lack of commercial success remains a mystery to this day. This selection of BBC Top Gear recordings demonstrates their song-writing strength and musical prowess. Only three tracks appeared on the band’s sole studio LP: the remaining nine songs suggest what a second LP might have sounded like. Highly recommended to fans of Fairport Convention, with whom Eclection share some musical DNA.
Comes with full recording credits and extensive sleeve notes.
Recording Quality Very Good/Excellent throughout.

The moment the instantly recognizable intertwined guitar passage on the title track to the Eagles' Hotel California begins, the record's genius becomes obvious all over again. Ranked the 118th Greatest Album of All Time by Rolling Stone, certified by RIAA as the third best-selling LP in history, and considered the foundation on which the Golden State's mid-‘70s music scene was built, the 1976 landmark is a music staple immune to shifts in trends, eras, and styles. Fearlessly addressing the chaos and consequences of American life, its songs remain strikingly prescient and gain creedence with each passing day.

Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl, and limited to 17,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set ensures you will want to permanently check into and never leave this particular Hotel California. Up to the herculean task of standing head and shoulders above all prior reissues, this collectible edition plays with extreme clarity, organic richness, tube-like warmth, massive dynamics, and microscopic levels of detail. You'll be able to practically smell the colitas and feel the breeze in your hair. Songs come across with an epic sweep and feature immersive, front-to-back soundstages that allow the music unprecedented air, roominess, and separation. As for the noise floor? It's basically as invisible as the spirits that waft in the corridors of the unforgettable title song.

Aesthetically, the premium packaging and presentation of the UD1S Hotel California pressing befit its esteemed status. Housed in a deluxe box, it features gorgeous foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes.

Indeed, the opportunity to zero in on all the particulars of the 26-million-selling Eagles record dubbed "a legitimate rock masterpiece" by vaunted Los Angeles Times scribe Robert Hilburn has never been better. A global phenomenon that marked the band debut of guitarist-singer Joe Walsh, Hotel California continues to resonate and connect with listeners of all generations taken by its narrative depth, stark directness, picturesque melodies, daring majesty, and ardent emotionalism. Adorned with a breathtaking exterior photograph of the Beverly Hills Hotel that serves as the simultaneously haunting and alluring cover art, and rounded out by a rear-cover shot of the Lido Hotel lobby that reinforces a notion that teeters between permanence and transience, Hotel California is brilliantly tied to a specific place that functions as a universally understood metaphor for the American Dream.

Confronting the darker undercurrents and oft-ignored constructs attached to that romantic notion, the record's songs revolve around a host of shared themes: excess, mobility, stability, illusion, fame, destruction, and idealism included. Notably, Hotel California appeared at a crucial junction in American history: During the country's bicentennial and amid escalating controversies related to the Vietnam War, energy crisis, and governmental corruption. That the Eagles manage to channel such cultural, social, and economical matters into a cohesive, stately, big-picture statement is alone a stupendous feat. That the album's reach, boldness, vitality, accessibility, and understated intensity have never waned make it a marvel.

Reflecting on Hotel California 40 years after its original release, and indirectly explaining its enduring appeal and increasing relevance, singer-songwriter Don Henley confirmed the record pertains to the "loss of innocence, the cost of naiveté...the difficulties of balancing loving relationships and work, trying to square the conflicting relationship between business and art; the corruption in politics, the fading away of the Sixties dream of ‘peace, love and understanding.'"

It can be argued that Henley and company squarely hit on and drove home those ideas in the surreal title track, chart-topping "Life in the Fast Lane," and grand "The Last Resort" alone. But that would miss the forest for the trees. Experienced as an unbroken whole, complete with the pristinely shot imagery and physical grooves, Hotel California unfolds like a geography-conscious saga by James Michener and plays like colour-saturated movie shot on 70mm film by Martin Scorsese. It's about our collective and individual decisions – and the shape of our past, present, and future. And, just like that conjured by our imaginations, Hotel California continues to take on a life of its own.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Looking back on her career in the early 90s, Stevie Nicks described the first track of Rock a Little as “the most exciting song that I had ever heard.” This coming from a superstar who was already closely affiliated with several bajillion-selling Fleetwood Mac albums — to say nothing of her own benchmark solo debut. Her remarks attest to the enthusiasm and effort she invested in her third record, a 1985 work that quickly furthered Nicks’ profile and cemented itself as a piece of 80s pop lore.

Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, strictly limited to 4,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set presents Rock a Little in audiophile sound for its 40th anniversary. Helmed by a cadre of producers and engineers, and recorded for a reported one million dollars, the platinum-certified album teems with a head-spinning array of colors, tones, dreamscapes, and accents. This reference-grade reissue marks the first time they are all brought to light and conveyed with proper balance, dimensionality, and positioning.

Though Rock a Little doubtlessly has period characteristics of a mid-80s LP, Nicks and company spare no expense when it comes to distinguishing the music with expansive sonics distinguished with lush melodies, high-tech percussion, echoing vocals, sampled keyboards, and layers of sophisticated accents. The degrees of spaciousness, headroom, and dynamics are nothing less than inspiring, while the newly enhanced detail, texture, and clarity make the songs sing like never before. As for Nicks’ voice? Wait ’til you experience the transparency and depth.

Those advantages extend, of course, to the aforementioned “I Can’t Wait,” a statement-making opener shot through with modulating synthesizers, splashy drums, metallic guitars, and serious drama. Holed up in a massive studio, Nicks required just one take to nail her part, which she called “magic and simply not able to beat.” The singer-songwriter also distilled the reverberating emotional essence of the Top 20 tune, stating “when I hear it on the radio, this incredible feeling comes over me, like something really incredible is about to happen.”

The same can be said for nearly all of Rock a Little. Crafted by the likes of Songwriters Hall of Fame multi-instrumentalist/producer Rick Nowels, Heartbreakers organist Benmont Tench, bassist Bob Glaub, jack-of-all-trades Greg Phillinganes, and session-pro guitarists Waddy Watchel, Les Dudek, and Danny Kortchmar — along with another two dozen or so participants — the record spills with diverse ideas, shapes, and moods. Everything is in the right place, as evidenced by the swirling glide and sensual undertow of the slightly funky title track to the snapping rhythmic pace and big hooks of “Imperial Hotel,” one of Nicks’ standout moments.

“What was it she wanted?” Nicks queries on “No Spoken Word,” continuing a theme of contemplation that runs through the narratives. Nicks never lands on a definite answer, but hearing her explore loneliness, love, and the secrets we keep to ourselves proves continuously rewarding. Take her passionate performance on a cover of Chas Sanford’s “Talk to Me,” a Top 5 smash furthered by tasteful saxophone lines and understated folk elements. Immersive yourself in the grand sonic corridors of “If I Were You,” laden with Nicks’ signature mysticism.

Moreover, surrender to the gravitas of the closing “Has Anyone Ever Written Anything for You,” a piano ballad composed about the death of Joe Walsh’s three-year-old daughter. As Nicks asserts earlier on the album, she sings for things money can’t buy.

So, rock a little, yes, but dare to feel even more.

2026 Rerpess

Interweaved yields the first volume of a new series curated by Brawther and one that underlines its credentials as an outlet for fresh new underground talent. Three producers here - Frederik Anthony, Mahar, and ICTV - were finalists in the 2023 "Minimal" Producer Challenge judged by Cassy, Losoul and Daniel Paul. Anthony opens with 'Interiddim', a lithe broken beat here through with warm chords. Mahar's 'Relaxed' is a silky and minimal dub tech cut and Omar Fayyad's 'A Mutual Thing' offers trippy late-night charm. Finally, ICTV's 'Oracle Night' is also deep and dubby but a little more menacing.

Pressure Traxx Silver Series welcomes Martinez from Copenhagen with his four track debut.

There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique — and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game,” the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3,000 numbered copies, and featuring the bonus track “Diddley Daddy,” Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing — impeccably controlled, tense, brooding, steamy, smoldering, haunted — situated amidst stripped-down backdrops that allow every note to fully bloom and decay.

While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc.

The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.

Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off.

Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes.

Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.

That approach bolsters the title track, which suggests calm yet moves on ominous currents — its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed,” sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint.

Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway.” On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect.

“Trouble going 'round,” Isaak croons right as the album begins. “Trouble going down.” Damn straight.

2026 Repress
Mike Parker, one of the most respected and innovative artists in techno, presents his debut release Cyclic Intonations on Sonic Groove with a monster three cut collection of TB-303 infused songs.

Included in this acidic burner of a release is :

- Atom Soldiers, an unearthed, thought-provoking acid gem recorded in the late 1990s

- Signal 303 features Mike dusting off his TB-303 to create an incredible new gem.
- Resonator (Adam X Pumped Up Edit), Originally released on Defective Records in 1997 and fetching a fortune on Discogs. Adam adds a heavier bass kick drum to one of the best acid tracks ever, ensuring it fits seamlessly into any modern day techno set.

If you love acid techno, this release is a must-have!

Originally released in 1991 on Ron Allen and Hayden Andre’s cult label Strobe Records, ...The Second Phase... contains three tracks ranging from deep house to garage passing through rave vibes. This reissue brings back an all time classic for the underground clubs.

ABOUT PHONE ME TONIGHT

Phone Me Tonight was recorded in 1981 at Studio Maïa in Bondy, just outside Paris - a creative hub where many artists of the African diaspora shaped their sound. On this track, Eko Roosevelt collaborates with producer Gabriel Nahas, known for his work with artists such as Pasteur Lappe, Marthe Zambo, Toto Guillaume, and Manu Dibango. The result is a shimmering blend of synth-driven groove and Eko’s signature ‘Funky Disco Music’ sound, capturing a moment where analogue warmth met futuristic ambition.

For this 2026 reissue, Phone Me Tonight has been carefully restored and remastered, breathing new life into Eko’s iconic Yamaha DX7 synth lines. The track has been subtly tightened to the grid, making it perfectly suited for contemporary dancefloors & dj’s while preserving its original spirit and charm.

This EP also offers a glimpse into Eko’s creative world: rare photographs of his home studio in Lobé, featuring the very DX7 synth used during the original recording. In addition, you’ll discover exclusive footage from the Phone Me Tonight video shoot, filmed at the breath-taking Lobé Waterfalls, documented together with Lobé’s community throughout 2025 and 2026.

ABOUT LOBE MON AMI

Lobé Mon Ami was written by Eko Roosevelt in 1981 as a heartfelt tribute to his home community of Lobé in Cameroon. Two versions of the song exist; this EP presents the rare and original version, restored and remastered here for the very first time. Using the download code, listeners can also access an exclusive alternate version of Lobé Mon Ami and the full EP in digital formats.

The song weaves together multiple languages, including Batanga and French, reflecting the rich cultural fabric of the region. Through its lyrics, Eko tells the story of his life - born and raised in Lobé, venturing abroad in pursuit of music, yet always drawn back home. Each return rekindles his deep connection to Lobé. In a poetic gesture, he names surrounding villages in various languages such as Batanga throughout the song, turning it into both a personal memoir and a cultural map.

ABOUT EKO ROOSEVELT

Born on November 13, 1946, to princess Kethy Mbenyo and William Roosevelt, Eko Roosevelt has led a life filled with mythical appeal and musical excellence. Local lore recalls how, at the age of ten, he bravely fought off and killed a serpent near the waterfalls of Lobé. An event that became part of his local legend prior to his enduring legacy as a musician and traditional chief.

Eko Roosevelt discovered his passion for music in church before furthering his studies in Dakar, where he met his wife, Nicole. Together they moved to France, where Eko launched his recording career - first with the Dikalo Group, and later as a solo artist. His discography includes standout releases such as Kilimandjaro My Home, Funky Disco Music, and the hit single Nalandi. In 2020 he renewed his status as hitmaker through his work with Disclosure on the revised version of his single ‘Tondoho Mba’, originally released in 1982. His enduring legacy and pioneership within Makossa and Funky Disco music helped shape the sound of many DJ’s and producers such as Gilles Peterson, Disclosure, Folamour, Diplo, ANOTR, Jax Jones, Sonny Fodera and Daphni.

Over the years, he shared stages and collaborations with renowned artists including Claude François, Nino Ferrer, Manu Dibango, and Miriam Makeba. As a producer and arranger, he became a respected figure across the African diaspora, working with talents such as Toto Guillaume, Marthe Zambo, M'Pongo Love, and experimenting in the studio with visionary artist Francis Bebey.

In 1998, Eko returned to Kribi, where he continues to live, create, and perform. Alongside his musical career, he has composed three albums of Catholic music, still awaiting release, and is currently working on new material. Today, he remains a beloved figure both locally and internationally.

Since 1996, he formally assumed his role as traditional chief of Lobé (usually reffered to as 'Chef Traditionnel'), following in the footsteps of his grandfather; his majesty ‘Bevigna Eko Louis’ - an enduring source of inspiration throughout Eko Roosevelt’s life. Despite his royal duties, he continues to perform regularly across Cameroon. When he takes the stage, entire crowds sing along to Lobé Mon Ami and classics like Nalandi and Attend-Moi, celebrating a legacy that bridges generations.

Balancing tradition and music, his majesty Eko Roosevelt Louis remains deeply committed to both his community and his art. This reissue of Phone Me Tonight / Lobé Mon Ami marks a renewed chapter in sharing his rich musical legacy, and his musical future with the world.

Sound Therapy is the culmination of over ten years of sonic experimentation, developed across the past three years between Sicily, the United Kingdom, and Brooklyn. It builds on the foundation of the 2021 Dub-Stuy single Pon Pause featuring Al Campbell, whose success became the catalyst for the album’s eight tracks.

Conceived across two distinct halves, the album reflects the dual nature of D-Operation Drop’s sound, moving from one drop and roots/steppers traditions into more modern, forward-leaning bass music. The whole is intended to move the listener between foundation and progression, day and night, light and dark, a dynamic reflected in both the music and album artwork.

Sound Therapy also reflects the collaborative nature of sound system culture, featuring vocalists Blakkamoore and JonnyGo Figure (US), Galas and Marina P (Italy), and Rider Shafique (UK), alongside instrumental contributions from Brooklyn-based saxophonist Troy Mobius. The album was collaboratively mixed in person with McPullish (US) and mastered at Star Delta (UK), with a focus on depth, weight, and sound system translation.

Sound Therapy stands as a complete body of work while establishing a broader musical direction for D-Operation Drop, with further singles, mixes, and related projects to follow.

LIMITED 300 ONLY CRYSTAL CLEAR VINYL WITH PURPLE BLOB AND BLACK SPLATTER. HOUSED IN FULL COLOUR MATT SLEEVE WITH POLYLINED INNER BAG AND DOWNLOAD CODE. NON-RETURNABLE.
Following his two sold out releases ‘Vertigo’ & ‘Water Music’ on Riot Season last year, the ever prolific Ivan The Tolerable returns with ‘An Orphan Form’
A beautifully strange and immersive suite that feels both otherworldly and rooted in something organic. Drawing on kosmische drift, loose-limbed jazz, and warped psychedelic textures, the record moves like a half-remembered dream.
Field recordings and nature sounds weave in and out, grounding the swirling synths and off-kilter rhythms in real earth and air. It's a record that doesn’t follow a straight line, but instead wanders, curious, alive, and quietly spellbinding.
Recorded in winter 2024 in Middlesbrough, UK and Utrecht, Netherlands
Oli Heffernan: bass/guitars/synths/drones/field recordings/electric piano
Mees Siderius: drums/percussion/vibraphone
Elsa Van Der Linden: saxophones/flutes

Originally released on France's Megaphone Records back in 2002, People's Process in combination with Jean Marie Kone thrown down three different variations of title track, Incidental Beats. Strictly dancefloor business only !

Holic Trax presents its 36th release, featuring Tuccillo.
On the A-side, “Eves Sky” returns, a track that was played on the terrace at DC10 Ibiza in the early 2010s. Now reissued on a full 12” cut,
the one-sided pressing allows the low-end bassline to be pushed to its maximum.
On the B-side, “Percussholic” and “Musicly” are included.
The former was previously vinyl-only, while the latter was released digitally.
Both tracks are now brought together on the same format for the first time.
A three-track house EP

After more than a decade, Meduka returns.
The label’s 2026 release comes from Arno & Paul Walter pres. Paularner.
Medusa EP presents three carefully crafted tracks, each reflecting a different facet of the duo’s musical identity.

Edita's fifth vinyl is a hymn to the summer to come. Three tracks have already been released digitally, including a very unique reworking of Cerrone's "Supernature" by Inamo, a bombshell from Ivory that revitalized "Hideaway," and a fresh take on Animotion's "Obsession" by Soul Clap's Charles Levine. And as the icing on the cake, the bonus vinyl-only version from Mato gives us a truly moving dub version of "Good Life" by Inner City.

Some records point at the dancefloor; this one points at the sky. Decryption Of Reality is dubtommy's first solo record for NOREPRESS – the sublabel where he first surfaced on 2022's Pasanauri Way — and it lands as dub tech house wired to the stars: deep, driving, and lit from somewhere far off.

Across four tracks, wide synths stretch over a steady, danceable pulse and drag the groove off-world – less a night in a club than a signal caught from deep space. Three cuts keep the floor moving, bright and propulsive; the closer, "CDEFGAB" – named for the bare notes of the scale – sets down softly into something quieter and near-weightless, back to first principles.

A record for the deep end of the floor and the long drift home.

NOREPRESS is a division of MixCult Records

OLC003 brings another slice of late-90s South London tech house back into circulation, with a repress of Swag Records SWAG003 now brought home to the Online Collective catalogue.

“Takedown” from Dave Ivy opens with a distinctly 90s feel, built around analogue synths, punchy drums and processed movie vocals. Raw, driving and full of character, it’s a proper snapshot of the era.

“Diversion” sees Rob Pearson and Lee Humphreys developing their early collaborative sound, with lush Detroit-tinged chords, analogue drum rhythms and plenty of subtle detail. Even the slightly wonky vinyl noise was recorded by Rob and Lee themselves while miking up a wobbling record — a small touch that sums up the hands-on approach behind the track.

On “Checkout” Rob & Lee head into deeper and slightly cheekier territory, with a few familiar voices from a particularly strange night south of the border weaving through analogue hardware textures, resonant sounds and deep bass. A stripped-back late-night groove with plenty of attitude.

Three tracks from a very particular moment in UK tech house history now back with the original artists on Online Collective.

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

For our next release, we're proud to welcome Italian House veteran Tuccillo to the label with his new Make Me Feel EP, featuring rising talent Baka G. Blending timeless House grooves with deep, soulful textures, the EP delivers three carefully crafted tracks built for the dancefloor. Striking the perfect balance between experience and fresh energy, Make Me Feel EP captures the essence of both artists while staying true to the label's signature sound.

Kaveon launches on wax with an anonymous three-track transmission, drifting somewhere between the darker corners of minimal and the restless pulse of the UK underground. The A side moves patiently, carried by a deep, shadowy bassline, hazy pads, and groovy vocal fragments that give the track an almost cinematic tension. Turn the record over and the mood shifts gears - sharper, faster, and full of garage swing, with bouncing basslines, loose rhythms, and eccentric vocals bringing a playful edge to the floor.

RCRWAX001 brings three no frills dubby tech house chonkers and one electro leaning tech house peak timer from Manchester based j:me.

Vinyl only.

The long-awaited new vinyl release from Daniel Broesecke features three original tracks and one remix by Ki.Mi., delivering a technically precise and energetic deep-tech statement. Built for the club yet flexible enough for any moment in a set, the record balances drive, groove, and atmosphere with confidence. Side A focuses on modern, immersive deep-tech — forward-moving, hypnotic, and immediately engaging. Side B explores broken rhythms, controlled tension, and deeper movement, closing with a distinctive reinterpretation by Ki.Mi. that adds a new perspective while preserving the core energy of the release. VAM13 isn’t just another vinyl — it’s a focused, cohesive label gem with a strong signature sound. A reliable companion for DJs and a powerful addition to the Afterme catalogue.

Back after its first release, Life Enigma returns for a second chapter: a dark and warped dispatch from the void.

This time, the London-based artist of many aliases Zuul takes the reins, exploring moodier territory at the low end of the frequency. The result is three slow-burning, horror-flecked cuts that sit somewhere between electro and new wave, each driven by a sinister vocal. The release is rounded off by a more dancefloor-oriented remix from C.ru.z on the B2.

On the A-side, My Mind Is Mean is a driving, sub-heavy opener with menacing synths that do the title justice. It's Hell In There, It's Horror shifts into something more melodic and upbeat, with eerie textures and an ominous undercurrent.

And when we thought things couldn’t get any meaner, Ask Me sinks into haunted, mid-tempo bass hypnosis on the flipside, while C.ru.z’s remix leans further into its darker side with an even nastier groove.

The Memory

A flash of light hits your eyes. Your ears hear muffled bass. As bright white fades to amber, you find yourself in a familiar place. A place you have been to many times. Though the edges of your memory are no longer sharp, the shape of it all is in your DNA.

The smell of rusted metal, dirt-covered floors that once hosted workers, machines and industry mixed with spilled beer and the sweat of a thousand bodies moving to syncopated music. As your vision comes into focus, you’re back there.

A warehouse in the former industrial part of town. You’re surrounded by hundreds of strange but familiar faces, each of you dancing into a frenzy countless times under the moonlight — moving, jumping, laughing and connecting.

Sunlight pours through warehouse windows or appears over a distant horizon.
The DJ plays a song that completes the journey you all just shared. You are desperate to hold on to the feeling of the last song that lands you safely from the night and into a new day. The feeling is deep. Pure.
Especially when communal ecstasy is juxtaposed against the edges of the warehouse floors, the intimacy of city lofts, the spiritual nature of open fields or forests.

The Custodian

I spent just shy of two decades in spaces like that — as a raver in early 1990s Los Angeles, then a DJ, producer, label owner and head of Moulton Studios in San Francisco.
The Custodian Project is a memoir of a life lived deep inside the culture and business of house music from 1990 to when I stepped away from music as a full-time life in 2015 — told through music, stories and DJ events.
Each release of new music draws inspiration from feelings, emotions and memories of that life — different rooms, different eras. It is an exploration to understand and capture what those feelings were, and in some cases still are.

The Music

This EP is the beginning. 1990. When I first found the rave and re-ordered my DNA based on the sounds, songs and feelings of that era that can be summed up in the title track — Sunrise Through Warehouse Windows.
All three tracks here are an attempt to reach back and touch those mornings again. To put the listener back in the warehouses or open spaces where we would dance as the sun rose over the horizon.
To capture what I felt back in 1990 when the night transitioned into daybreak. Bodies moving in unison. People, places and music all connect. An era before algorithms.

(tracklisting)

A1 — Sunrise Through Warehouse Windows — 7:51
B1 — *Truly Amazing — 8:16
B2 — Sunrise Through Warehouse Windows (Floating Beatless Mix) — 4:20

Written and produced by Chris Lum for Abitare Music (ASCAP)

* Written and produced by Chris Lum - Abitare Music (ASCAP) & Jay-J Hernandez Stopped in Time (ASCAP). Originally released on Leaf Recordings 2000

Mutual Rytm welcomes new school tastemakers Klint and Hemka to sub-label Versus for imprint’s second drop. SHDW’s Mutual Rytm welcomes back two standout label alumnus for the second edition of Versus, a newly-launched conceptual sub-label focused around two artists whose sound works individually and in unity. Hemka made an impressive and well-received debut with her full solo EP back in 2025, while Klint appeared on ‘Federation of Rytm IV’. Both artists hail from France, and have crafted a well-earned reputation for their own distinctive approaches to sound design - pairing locked in grooves with cosmic synth escapes. Across the EP, each artist delivers three individual takes on techno to make for an essential collection of high-end cuts, exploring the label’s ethos of creative symbiosis between two artists on one shared release. Klint’s tracks lean towards minimal yet highly effective, dance floor-focused DJ tools, starting with the lithe, stripped back menace of ‘Prism’, before the sparse eeriness of ‘Dobermann’ keeps you looking over your shoulder while remaining trapped in the groove. Third cut ‘Romance’ is more bold and muscular, with contoured drums and icy pads ramping up the tension and energy. Hemka then dives deeper into a hypnotic and anthemic direction while introducing her own voice into the mix. ‘Leave It’ is textured, percussive deep techno with shadowy whispers, while ‘Breathe’ has a dark, grinning undercurrent and scintillating snares fluttering over the drums. ‘Mindness’ then pairs spoken word atmospherics with taught drum pressure and an ethereal backlit glow. In addition, Klint's digital only cuts ‘1112’ and ‘Blue’ marry minimal synths with meticulously defined drums that hit hard, while Hemka's ‘Push’ is an anxious percussive trip, contrasting with the introspective emotional core of ‘Live To Tell’.

Frankfurt-based DJ and producer Kuyateh launches his own label: PROVIDER.

With the first release on his new imprint, he provides you with three boldly honest tracks of his own, getting straight to the point.

Provider is the key to his hidden music box: now unlocked to gradually reveal new music over time.

Release the unreleased!

Paul Walter joins Subsdance with an outstanding three-track release.