Search:rëd

Trance music fans, get ready to experience Push’s iconic anthem “Universal Nation” like never before with this exclusive 2 x 12" vinyl release repress.

Strictly limited to 500 copies worldwide, this special edition features a unique Inside Out cut pressed on stunning Starlight vinyl — black with striking coloured speckles, giving every copy its own distinctive look.

Featuring an array of incredible remixes, including Airwave’s Vocal Theatrical Version, James Harcourt’s remix, Gai Barone’s remix, and DJ Ghost & Danny C’s remix, this release is a must-have for any Push and trance collector.

Presented in it's original modern remastered artwork and pressed in the exclusive Starlight colour, this highly limited release offers a fresh way to rediscover the magic of “Universal Nation.”

Only 500 copies available — once they’re gone, they’re gone.

There are few electronic musicians as accomplished as A Guy Called Gerald From writing genre-expanding records as a member of 808 State and as a solo artist, to crafting what journalists call the greatest jungle album ever made under the moniker Black Secret Technology, AGCG has spent four decades redefining what electronic music can be. With collaborations, remixes, and tracks for the biggest names in house, techno, drum & bass, and jazz, one thread remains constant: in any decade or any genre, AGCG's music continues to be celebrated as genre-pushing excellence.

Juice Box is AGCG's label, named after his Manchester-based soundsystem. Originally established in 1992, the label went on an unofficial hiatus before the decade's end as AGCG's output demanded wider release. pairing two essential cuts from Gerald's vault that have long deserved proper vinyl treatment. On the A-side, the absolute classic "Voodoo Ray" finally returns to wax. On the flip, 1990's "I Won't Give In" resurfaces from the archive, a reminder that even Gerald's deep cuts carry the weight of lost classics. Juice Box is back, and the catalog has plenty of treasures to unearth, along with new material from one of the all-time greats.

A whole host of red-hot The Reflex flips have landed recently and this time it's TMB who drop a pair of disco delights. The opener is a smooth and low-slung cruiser with neatly knotted bass riffs and sparkling melodies that lead to a slow but sensual takeoff. On the flip, 'Lady' reworks a classic into a steamy late-night sundown sound with jazzy chords and the original vocals turning up the heat. Both are masterfully tweaked and touched up by a true titan of the dit game.

The third release on Deep Diners is a special limited edition. Pressed on rusty red vinyl, Lo-Fi Soul Food returns in its original version, first released in 2012 on Palham Music. The release also includes two remixes by Sole Brother and Alex Nam.
A timeless original, reimagined for the Deep Diners catalogue — vinyl only, in a strictly limited edition. There will be no repress. So grab your copy now!

Italian duo Ivan Iacobucci & Stella Fiore, now based in Berlin, make their debut on Griffé with the captivating "Ode Al Sole" EP. Following two acclaimed releases on the legendary Perlon and their own imprint, Klopfgeist Records, the pair return after a two-year hiatus.

Inspired by the many journeys Ivan and Stella have taken across the globe over the past two years, Ode Al Sole reflects a rich fusion of influences from Latin America and Africa, seamlessly intertwined with raw, forward-thinking electronic sounds of our times.

The EP is infused with hypnotic vocal elements that create a deep, trippy atmosphere, making each track both immersive and emotionally resonant.

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

2026 Repress

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

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

After appearing on some of the label’s key releases, dub maestro Andre Kronert is back on BERG AUDIO doing what he does best : dubby, reduced, and highly efficient dancefloor breaking tunes - Incl. a highly awaited repress of “Triton”.

Following two 7” releases, Silsila Dubs presents its first 12”: Redemption / Memories. Two rhythms, each with a main cut and a dub version.

Drawing on the UK roots sound of the 90's, Redemption leads the A-side with a warrior-style rhythm and meditative melodica played by Silsila Dubs’ Govind Singh. On the B-side, Memories picks up the pace. Inspired by the tunes we grew up listening to, it brings a more lively, jumpy energy to the sound system.

Following the release, you can catch Silsila Dubs with the Mya Hi-Fi crew as they string up for the first time on 23rd October at Brook House in Hayes.

Picking the best songs out of Focus’s legacy is no easy task: they have released so many top quality progressive songs it’s deemed almost impossible. However, Hocus Pocus (Best of Focus) manages to compile two records filled to the brim with the best that Focus has to offer.

The obvious tracks such as “Sylvia” and “Hocus Pocus” are included in the track list alongside “House Of The King”, “Harem Scarem” and “Anonymus”. A must for anyone wishing to recap on lost memories or as an introduction to the merits of Focus!

Hocus Pocus (Best of Focus) is available as a numbered limited edition of 1000 copies on red and white swirled vinyl

TAR048 Chaz Moloney - Tar 48 - TH Tar Hallow The room exhales.The tunes work in the low. Moloney locks the loops. The floor feels low to the dancers, everyone dives higher. A1 - Chaz Moloney - Behind The Red Curtains A2 - Chaz Moloney - Irritation Realm B1 - Chaz Moloney - We're Going There B2 - Chaz Moloney - Look Into My Soul And Tell Me What You See

Reissue of Rudimentary Peni’s stunning debut 12-song 7”. Recorded in 1981 at Street Level Studios and originally released on their own Outer Himalayan label. From the first track Rudimentary Peni pull you in and aurally assault your ears. It’s abrasive, sharp with supreme musicianship. They created a perfect, demented universe of twisted, poetic and needle in the red punk that has never been bettered. This reissue comes with a fold out replica sleeve with the iconic Blinko foetus artwork and booklet.

Das neue Livealbum "Sutsche" in Red/Orange Vinyl: Zeitlose Perlen und humorvolle Hymnen wechseln mit sanften Balladen und hintergründigen Gesellschaftsbeobachtungen. Allen eigen die kauzige Cleverness der Monsters, mit der sie punktgenau die Pointen finden, die stets den hoffnungsvollsten Ausweg aus jeder Ohnmacht bieten. Ob Schokobusse oder vergessene Feierlichkeiten, alte Freunde oder kraftgebende Pommbären, der Wunsch zur Wahrheit trifft die Erkenntnis des Schicksals und der Mond strahlt dazu gütig. Die Welt der Monsters ist bunt und voller Melodie, und wer auch immer ihnen eine Chance gibt, wird schnell bemerken, wie der monströse Zauber auch den eigenen Alltag alsbald mit Farbe und Freude füllt. Der Weg ist schließlich das Ziel, und dieser hat den besten Soundtrack.

Welcome Tori Kudo back to A Colourful Storm with a new edition of Maher Shalal Hash Baz's Faux Départ, a document of a stateside tour that culminated in a recording session at the legendary Dub Narcotic Studio with a one-time ensemble of Greg Saunier and Chris Cohen (Deerhoof), Andrew Maxwell, McCloud Zicmuse, Arrington de Dionyso, Takashi Ueno, Saya Ueno, Naoki Otani, Akiko Hotaka, Masaaki Endo and Naoki Otani. Always spontaneous, never rehearsed. Music in and of this world, seemingly teetering on the verge of collapse.

"We flew to the US for a show with Red Crayola in Los Angeles and initially stayed at Rick Potts' house. There, I met up with The Curtains and hit the road in their car. We headed north, writing down every melody that came to mind. I slept in the gap between the wall and the sofa and got interrupted by a herd of cows along the way, but I finally arrived in Olympia and recorded all the melodies I'd written down, which became Faux Depart. There, I found McCloud, a noble beggar who was sleeping in the studio and playing the bassoon on the street." - Tori Kudo, 2026

"Chris Cohen, who played in Deerhoof from 2001-2006 or so, was an obsessive Maher fan. When our other band, The Curtains, was given a chance to support Maher on a West Coast tour, we got to see up close how Tori leads - often by not leading. He is an unpredictable, wild musical genius and card-carrying eccentric." - Greg Saunier, 2026

*COMES IN GATEFOLD 2LP WITH LINER NOTES*

The premise of this compilation is simple: music we’d like to hear at the airport.

The idea came after learning that Honolulu’s international airport has been playing AI-generated music over its speakers since November 2025. First reported by Civil Beat, the news has caused frustration and disappointment among residents and visitors, as well as within the local music community.

Everyone knows Hawaii is one of the most musically rich regions in the world — why then is the airport using AI music? 'Music For The Airport' is our response.

Located in the middle of the Pacific at the outskirts of one the most remote cities on the planet, Honolulu’s Daniel K. Inouye International Airport (HNL) is for most people the first place they encounter when they arrive in Hawaii. Warm sun, tropical tradewinds, playful palm trees and majestic mountains welcome every traveler, as do the sounds of birds, familiar music from Hawaiian artists like Aunty Genoa Keawe and Israel Kamakawiwo’ole, and—at least for now—seventeen “island-themed” AI-generated songs.

In late 1977, while sitting in Germany’s Cologne Bonn Airport on a Sunday morning, Brian Eno noticed how terribly uncomfortable he felt hearing the airport’s “muzak” overhead. For a harried, hurried place like the airport where travelers scramble to their gates, stand in long border control lines, and wait impatiently for their luggage at the carousels, music can create more anxiety than calm. Asking himself, "What should we be hearing here?", Eno soon created ‘Ambient 1: Music For Airports’, a sonic remedy aimed at reducing nervousness in public spaces.

When we heard the news that HNL airport is playing AI-generated “muzak”, we were immediately reminded of Eno’s genre-defying 1978 album. And we were similarly inspired to react. But how? Recreating an ambient masterpiece wasn’t in our wheelhouse. We started digging through our catalog of licensed music which we haven’t yet re-released. We quickly realized this was our chance to highlight some of favorite songs from the so-called CD era: the 1990s and 2000s (with a few exceptions). In less than 20 minutes, we pulled 17 original songs recorded by local artists between 1984 and 2017.

The speed at which this project came together surprised us; reactionary gut instinct often produces swift and lasting results. Ironically, our new compilation likely took less time than it did for the state Department of Transportation to commission its AI songs in question. But even though ‘Music for the Airport’ came together in less than one week, the truth is that this collection of 17 songs is the result of years of hard work, trust, sacrifice, patience, and understanding. Building relationships with and licensing music from artists doesn’t happen overnight, but more importantly: these songs are the result of people pouring their hearts and souls into something they believe in. This music wouldn’t exist today without the artists and their loved ones who supported them along the way.

As of this writing, the DOT states its intention in creating AI-generated songs is to “highlight different aspects of the islands, aviation and the airport” and that “no state funds were used to produce them”. Okay, but at what cost? Technology disrupting the music industry isn’t news to anyone. AI music in public spaces are cost-saving measures, since its users (airports, for example) don’t have to pay the licensing fees typically required, which can be a worthwhile source of revenue for artists. But what happens when a place like HNL airport, which hosts more than 21 million passengers annually, uses music created by machines instead of people to represent Hawaii? The identity of a place beings to erode, diluted by a language learning model’s conceptual summary of what a people and its culture sounds like. To echo Brian Eno: what should we be hearing here? In other words: what should the music of Hawaii sound like?

We believe in the power of music, especially when it comes from the soul. We believe in supporting artists, especially as AI disrupts our lives. We believe that Hawaii must be represented authentically, especially when it comes to song. And of course we believe in vinyl, especially since it was a record from 1978 (Mackey Feary Band’s debut LP) that inspired Aloha Got Soul’s origins in 2010.

We hope you find as much joy in this compilation as we have. Perhaps it’ll soundtrack your next journey to Hawaii. At the very least, we hope some people take a moment to hear these sounds: in your headphones for now‚ maybe someday overhead at the airport in Honolulu.

* long version / previously unreleased on vinyl
** exclusive / previously unreleased
Felix Laband's highly acclaimed electronica masterpiece album "Dark Days Exit" (2005) is now available as an Extended Version 2LP vinyl. Originally planned for last year's 20th anniversary, this special edition features a new design by Felix Laband and includes a double-sided DIN A2 art print. Dark Days Exit features four exclusive tracks, alongside five vinyl-only tracks available for the first time in their original long versions. Listening to the key track, Sleeping Household, on Dark Days Exit is unsettling: like being an impostor rambling around an uncanny house, a Lynchian leitmotif in the form of a young girl divulging secrets that you probably shouldn't hear. Dark Days Exit is an album that paints an interior landscape, an invitation to transgress private thresholds. Made with old-school production tools that require hands-on application, Dark Days Exit is a sound-production tour de force. The music is as wide as the savannah and microscopic at the same time, a lesson in what can be achieved when 'music' is placed on an equal footing with sound as a phenomenon, by an artist who decides to apply themselves without reserve. The masterful manipulation of reverb and delays and hyper-detail was a generation ahead of its time, and Dark Days Exit is preferred by audiophiles for testing their systems. Dark Days Exit is intimate, demanding, and a masterclass in tension, and Laband's ability to use all sound without hierarchy to paint a detailed personal vision — one that is less overtly political and streetwise than on subsequent albums — is unsurpassed. Most discerning listeners are into music because, in the hands of a master, it can manipulate our mood and transport us. Felix Laband opens with a sonic portrait of spring happiness and gradually dismantles the atmosphere in front of our ears, as epitomised by the haunting track Black Shoes. No sooner are we afraid than the artist drops us off where we started. In many ways, the intimacy derives from the tight group of friends and believers whom Laband corralled as contributors: Mark van Niekerk (xylophone, "Miss Teardrop"), Jane Rademeyer (clarinet, "Black Shoes," "Radio Right Now"), Brendon Bussy (mandolin, "Black Shoes"), and Derek Gripper (sampled violin, used throughout) and Alex van Heerden on Minka. The difficulty in categorising Dark Days Exit is probably due to Laband listening mostly to ambient and classical music at the time, and consequently registering the album at the lush, cinematic end of the electronic spectrum. There is poise and restraint in the spare use of beats, and when they do appear, they hit hard. Forged in the optimistic post-apartheid years, Dark Days Exit is music about life and death, spanning hope, despair, terror, tension, with humour and empathy. Twenty one years on, the album's gravity endures, due to its almost perverse authenticity, its timeless themes of hope and despair, and its apex level of technical mastery. The additional, immaculately produced tracks add new rooms to the uncanny house we are invited into.

Reissued Rise Against: Revolutions Per Minute (2026) anlässlich der aktuellen Feierlichkeiten zum 35-jährigen Jubiläum von Fat Wreck auf violettem Vinyl gepresst! Ursprünglich 2003 über Fat Wreck Chords veröffentlicht, entstand das zweite Album von Rise Against "RPM" inmitten von Tourneen durch die USA, Kanada und Europa. Nach einigen Wochen im Studio Blasting Room Studio, wo sie gemeinsam mit Bill Stevenson (Descendents) und Jason Livermore die Aufnahmen einspielten, präsentierte sich das Quartett mit diesem von der Kritik gefeierten zweiten Studioalbum. Revolutions Per Minute verbindet auf meisterhafte Weise die rasante Energie des Punk mit scharfen, eingängigen Melodien. Tim McIlraths leidenschaftlicher Gesang transportiert gesellschaftskritische Texte in herausragenden Songs wie "Like the Angel" und "Black Masks & Gasoline". Das Album prägte den Punk der 2000er Jahre maßgeblich, schlug die Brücke zwischen rohem Underground-Hardcore und Mainstream-Rock und gilt heute als Meisterwerk des Genres sowie als das definitive Underground-Werk der Band. Band credited with creating a new sound - branch of melodic hardcore and political punk Rise Against's sophomore breakout album, produced by Bill Stevenson and Jason Livermore at Blasting Room Band has amassed 2 platinum records and 5+ gold records in multiple countries and 5+ Top-Charting Alternative Rock Radio hits Features hit singles "Heaven Knows", "Black Masks & Gasoline" and "Leaving Jesusland" Known for their progressive politics, veganism, and outspoken views

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

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

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

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

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

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

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

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

The final chapter of Freerange’s 30th anniversary series arrives with Volume 5, bringing together six brand new and exclusive tracks from across the Freerange family, and beyond. As with the previous four volumes, it’s a snapshot of the label’s enduring musical DNA — deep, soulful, underground, and resolutely dancefloor-focussed.

New edition, red vinyls.


Mazouni is one of the great voices of Algerian exile music. This compilation retraces his years in France from 1969 to 1983, when he brilliantly blended Algerian popular song, yé-yé, rock and traditional music. A sharp yet affectionate chronicler of immigrant life, he recorded classics such as 20 ans en France, Clichy and Mini-Jupe. An essential body of work, bridging cultures and telling the story of immigration through music, with a modernity that remains strikingly relevant today.

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


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

No pretense


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

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

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

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

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

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

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

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

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

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

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

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

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

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

From his home city of Montréal, NO brings us synth infused with lyricism mapped over the dark undercurrent of an intensively driving beat. From vocals suffused with a compelling nihilistic charge, NO draws the listener into narratives with a somber core. This is synth unprocessed and raw edged, with an immediacy that goes straight to the heart of the matter. This album is a collaborative release with Kernkrach Records and TONN Recordings.

With Golden Crown and his interpretation of Prefab Sprout’s Enchanted, Forest Law brings together two songs that reflect both his songwriting and his musical influences. One is an original composition from 2018, rediscovered years later and revived almost unchanged, pairing bright pop melodies with a sharp meditation on power.

The other pays tribute to a song that became a personal obsession after his long-overdue discovery of Prefab Sprout. Together, these recordings highlight Forest Law’s gift for understated arrangements, memorable melodies and lyrics whose depth unfolds with every listen.

Australian electronic icon What So Not redefined the boundaries of bass music in 2016 with the seminal Divide & Conquer EP—and now, this moment in dance music history finally gets the treatment it deserves. Celebrating 10 years, this vinyl pressing unleashes the EP’s signature mix of relentless bass and massive, soaring melodies like you’ve never heard them before.

Featuring the timeless sonic architecture of tracks like the explosive title track ‘Divide & Conquer’ and the unforgettable ‘Trust.’ Packed with iconic collaborations with Kimbra, George Maple, BURNS and GANZ, every track on this record holds up as a masterpiece. Drop the needle and re-experience the boundary-pushing energy that established What So Not as a global trailblazer.

Kito Jempere has spent more than two decades building a universe of his own, with releases on Mule Musiq, DFA and other influential labels, alongside remixes from Ewan Pearson and others. With Other People’s Aesthetics, that universe finally opens outward. After years of protecting his own musical language, Kito lets the outside world in—embracing the sounds, artists and scenes that have shaped him, from house and techno to Aphex Twin, Warp, Ninja Tune and Omar-S. The result is a personal universe merging with the world beyond it. The album opens with “Change For Now,” a collaboration with longtime friend Lipelis (L.I.E.S., Public Possession, Running Back), marking a friendship that has grown over the past decade. “Teaser,” originally released on Mule Musiq, returns in a new album “Dub” version, with fewer vocals and a stronger garage-house feel—a direct statement of love for David Lynch. “OPA” looks back to Kito’s original half-jazz, half-drum’n’bass sound and the Uniquetunes era of the early 2000s, alongside the music he absorbed from CDs by Amon Tobin, Squarepusher, Skalpel and The Cinematic Orchestra. “Listens To Selected Ambient Works Once” is a direct homage to Aphex Twin, given a Warehouse-style treatment for bigger dancefloors. “I’m Not A Doctor, Either,” featuring mishinuki—previously heard on Green Monster in its Moloko homage—builds towards an epic, euphoric string finale. “Kobayashi Porcelain” closes the record by combining memories of Usual Suspects with Moby-like atmosphere and an Omar-S-type beat. The release of Other People’s Aesthetics will be followed by a Japan tour in December 2026 and Kito Jempere’s ongoing residency at Honeycomb Hi-Fi in Dubai. Early support from: Ata, Reznik, Horse Meat Disco, Vladimir Ivkovic, Tim Sweeney, Max Pask, Rich Thair of Red Snapper, Ame, Ellen Allien, Benji B, John Tejada, The Blessed Madonna, Hard Ton

Marion Poncet delivers his heartbeats in full length format as 2x12“ on Smallville's Fuck Reality.

While Traumer might be the most prominent moniker of Romain Poncet- and the one he is currently touring the world as- there is countless other musical projects that the artist is operating as. And its the lesser-known side-projects, that complete the picture of a truly versatile musical mind. So next to Traumer, you'll meet Brako, Amine Laje, Jinger, Redspecs- Marion Poncet - and even more side-projects within the world of Romain. He has always seen his monikers as a form of expression and to showcase his musical broadness. Of course there is House music in all different shades & moods- but Romain also released techno, downbeat & trippy things for the heads as well as broken beat material.

„The Raging Swells Crushing The Cliff Of My Love” was written during a period of longing for his love – so here is a deeply personal album as a musical dedication. Expect thoughtful-but-crunchy house music with a chunk, that sounds as if it was made for Smallville's Fuck Reality imprint.

Fuck Reality LP 02 comes as a 2x12”, as always with a full cover artwork by Stefan Marx.
Love from Smallville - stay positive – Fuck Reality!

Rich Oddie of Orphx and Alex Pi of Pi Electronics introduce Anaxia, a new project arriving on Veyl with the 7-track LP “Maska”.
Built from raw electronics, stripped-down drum machines and a stark post-punk pulse, the record sits somewhere between industrial pressure and the ghostly minimalism of Suicide. It is direct but shadowed, physical but restrained, with vocals from Oddie and Pi cutting through the machinery rather than sitting on
top of it. Oddie’s background in Canada’s industrial underground and Pi’s long-running connection to the Greek electronic scene meet in a sound that feels tense, reduced and fully intentional. KAOSMOS and Florian Engerling add additional vocals, while remixes from In Trance 95 and Veyl regulars Years of Denial extend
the material into darker, more hypnotic territory. With “Maska”, Anaxia deliver a debut that feels fully formed: nocturnal, focused and stripped to its essentials. A natural fit for Veyl, the record draws a line between post-punk, industrial electronics and body music without overexplaining itself.

"Broken Home"tells the story of an escape that doesn"t really lead anywhere. The song depicts leaving a dysfunctional home hoping to find something better,only to end up in a worldthat feels just as chaotic and empty. The journey takes on a surreal tone, filled with striking, symbolic images: glittering but hollow figures, cheap messiahs, plastic saints-signs of a society that builds superficial, interchangeable idols. Surrounded by a hyperconnected crowd, there"s still a deep sense of isolation running through everything. The city itself feels saturated with excess, addiction, and illusion, where even moments of "cleanliness" or redemption seem fake, as if something as simple as rain could wash everything away. At its core, the song explores alienation and disillusionment, suggesting that escaping your past doesn"t mean much if the world you run into is just as broken.

„Whut? Thee Album“ ist das Debüt-Studioalbum des legendären Rappers Redman. Das am 22. September
1992 veröffentlichte Album erreichte Platz 49 der Billboard 200 und Platz 5 der Top-R&B-Album-Charts
und wurde später in den Vereinigten Staaten mit Gold ausgezeichnet.
Das Album präsentierte Redmans unverwechselbaren Vortragsstil, seinen bissigen Humor und den rauen
East-Coast-Sound durch herausragende Titel wie „Time 4 Sum Aksion“, „Tonight’s da Night“ und „Blow
Your Mind“.

Det Gode Selskab continue their quest as they call on Berlin-based Italian artist Busso. An artist who continues to express himself through a multitude of vibes and sounds, fitting perfectly with the free-flowing DGS ethos. ‘Anna In The Jelly’ wanders between four different cuts, teasing animated deep house energy combined with stripped-back minimal flavours. A reflection of Busso’s versatile taste, he encapsulates four sure shots for your summertime record bag. A tale for the sun worshipping dreamers, soundtracking the warmer months.

Diving straight in with ‘Sexual Desire’, Busso delivers perky and playful peak-time action, with a clean-cut, feel-good energy from the word go. A vintage feel emerges through the vocals and crisp drums, working in sweet harmony. Slick hi-hats lead the way in ‘Don’t Be Afraid’ before you are confronted with a killer elasticated groove synonymous with the Italian’s sound. Beautiful chords appear at the midway point, spiralling into paradise.
The B-side kicks off with the title track, constructed in a distinct chunky manner. Squelchy mechanical tones manoeuvre around the mysterious drive of the track. Moody as it moves, it’s one for the darker nights on the road. Last but not least is ‘Red Print’, tightly packaged and incredibly detailed, with quirky obscurities flashing throughout. A steady motion perfectly sets the tone as you start to build the floor.
This record cements an exciting future for the label, as they look to continue elaborating on their catalogue, ever-evolving and expanding their width of sounds with one of the most exciting prospects currently in the German capital.

Compiled onto one vinyl album for the first time, Landlocked (Numbers, 2026) presents Hallucinator’s 1999 debut album originally released under Mark Ernestus and Moritz von Oswald’s label Chain Reaction. Writing much surrounding the culture of what would be later considered ‘Dub Techno’ and its’ primary distribution center, Hard Wax, leads one down roads of shifting primary sources and decades old overheard smoke break recollections. Maybe brevity primes the listener to the paralinguistic to approach the sound on its terms; focusing on how things are uttered and not what.

This theory will remain unconfirmed. Hallucinator original press release left us with three or so gestures to consider over the years since:

“A new act on CHAIN REACTION”s distinct productional thesis. HALLUCINATOR are 3 people from he UK/London and this their first release ever- that’s all what the artists want to let us know…. This record is dedidacted to the memory of Stephen Lawrence!”

The first gesture is one of personnel. Since ’99, we’ve gotten to learn a bit more about the artists behind the Hallucinator project. All London-based, all writers, composers, and sound-designers— Anna Piva, Edward George, Trevor Mathison. These three seem to flow between parameters as aesthetic tactic and tacit structure to the work itself. For example, other collaborative shapes have come from this lineup including Flow Motion (Piva, George and Mathison) as well as the now defunct Black Audio Film Collective of which George and Mathison are founding members.

The second gesture is in the second line of the previous press release, “distinct productional thesis.” Much of Landlocked’s affect and sequencing seems to suggest an emotional study of entropy at the level of sediment. Rhythms play with space and capacity through polyvalence. The production chose subtractive vertigo, often switching and bringing back in elements that vanished from the track 6 minutes ago. Dubbing out so much of a track, one begins to associate sound akin to memories held in the experience of running your hand across a concrete block as a child. Felt (re)memberance in lieu of narrative tale. Using textures that flicker between colour and percussion, Hallucinator’s 12-tracker of loudspeaker perception music might be a mediation on the psychic wake of the Cold War. Intermittent strata of ambience and groove convects an active margin rifting event underneath a scorched geology of power in Western Europe. Again, this is all grapevine hearsay.

But it’s silence that voices the third gesture. The album’s sparse application of the written word touches on the ennui paradox of being landlocked on an island. Stuck. Trapped in the psychosis of occidental hypercentricism. A looping silence of Black British tragedy: “to the memory of Stephen Lawrence”. 18 year-old Lawrence was stabbed to death at a bus stop in southeast London by six white men in 1993. The rift of grief and implicit reiteration of modern subordination left by this hate act went legally silent for almost two decades until Lawrence’s killers were ultimately sentenced to virtually life in jail in 2012. Only six years removed at the time of Hallucinator’s initial invocation of rememory, the mind-numbing accretion of what Black Studies Professor Denise Ferreira da Silva might call “unpayable debt”, finds demonic ground across Landlocked, forming an aural sense of what continues to be refused.

The album ventures through spaces of overactive non-happenings: ‘Red Angel’’s factory floor dub flashes between smokestack and jungle visions, or the halfway mark’s stilted breath of ‘Dusk’ lending its mood to the sort of sedated dreams built from daily life under colony rule for instance. That linked rhythm links us back to our linked fates across Black and Brown folk is real, thus the syncopated signals through this work behave on the level of transnational radiotelegraphy, sounding out its windswept tension of a body negotiating a meat-grinder schema of linear production and wage for others to know that unspeakable thing can be broadcast in every drum tongue.

As the silence continues to reverb, we return to the sort of meaning-making that cannot be told but felt. Soothing to some, disturbing to others. Landlocked, a Rorschach test for a crumbled empire.

The third chapter of The Third Room's curator-led series is shaped by Verraco, one of the key voices behind a new generation of artists reshaping contemporary club music. Through his productions, DJ sets and his work with TraTraTrax, he has helped define a sound where hybrid forms, rhythmic experimentation and cross-cultural influences are pushing the genre into new territory. Structured across two distinct sides, the release draws a clear connection between past and present. The A-side leans into a deeper, more classic space, while the B-side moves towards a more forward-facing, hybrid sound. It opens with Libration (Stone Version) by Substance & Vainqueur, a revisiting of their landmark 2007 release, a track that helped define the language of Dub Techno as it is understood today. Reduced, deep and spatially precise, it established a blueprint for how rhythm, delay and tone could function together. It's presence here acts less as a nod to the past and more as a reminder of a foundation that continues to shape the genre. Skee Mask's Clear Sky 909 continues this thread, softening the edges without losing depth. Warm, enveloping textures and fluid movement give the track a sense of openness, balancing clarity with emotional weight. The B-side shifts perspective. On Untitled (Teamgeist Mix), Verraco, joined by Tils, delivers the record's defining moment - a dense, intricately designed piece built on a driving low-end and evolving rhythmic patterns. Elements from Techno, Bass and Leftfield House converge into a detailed, forward-moving structure that actively bridges cultural contexts. It results in a form of dance music shaped by technical precision, but drive.n by a clear sense of intent, marking a distinct expression of Verraco's current sound. Untitled by 1morning introduces a rolling, tribal-infused groove with a strong sense of depth, while PatumPa by Regal86 closes the record with a bright, loop-driven energy that leans into pure motion. Across both sides, the release moves between reference and progression. Rather than separating old and new, Verraco connects them - tracing a line from foundational Dub Techno to a more fluid, contemporary club language. Copyright 2026 The Third Room A1 Written and Produced by Peter Kuschnereit & Rene Loewe | A2 Written and Produced by Bryan Mueller | B1 Written and Produced by JP Lopez & Jakob Ferdinand Tils and mixed by Lurka | B2 Written and Produced by 1morning | B3 Written and Produced by Regal86 Mastered by Andreas Kauffelt (Schnittstelle Berlin) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Gatefold Style - 180gm

Sycophant is the first offering of recorded music from the polymathic Tāmaki artist Hun Lynch.
Recorded almost entirely at her house on a bedroom setup, Hun wrote, played and produced
almost every element on the album (with the exception of one drum track contribution from the
master Cory Champion). Sycophant guides us through lucid cinematic scenes saturated in
hypnotic choral vocals, driving guitar loops and synth-work akin to musique concrète.

Sycophant is a meditation on rediscovering one’s spirituality after both being rejected by and
rejecting organised religion. The processing of these experiences becomes a lamentation of
Christianity’s participation in the colonial rupture across Te Moana-nui-a-Kiwa, from which the
album was born. Grappling with co-existing states of love, guilt, fear, lust, grief and hope.

Pulsing between feelings of grandiosity and insignificance, between the atavistic, animal
experience of being alive and the existential, cerebral confusion of playing a part in the current
world. At the same time, Sycophant is an expression of love and devotion to Hannah’s family
and friends and everyone she knows and doesn’t know.

Created with awhi and guidance of Noa records and Navakatoa Tekela-Pule’s unending support and friendship.

Tracklisting:

Riviera Records presents XTC002: The Atlantic Connection with non-stop flights to X-Coast from Ireland, UK and USA.

The first route offers a very intuitive bass and breakbeat driven ride with a Tama Gucci signature, sensual vocals cutting through the airspace. The second journey is flying over (hard) house territory
with DJ Torture serving the snacks.

The B side we have a UK to X-Coast red eye flight with a trance edge courtesy of Capt. Ejeca. B2 is the only supersonic flight offered at this time navigated by Tommy Holohan: a shuffled up Reese bass powered techno from Ireland to X-Coast in just 4 minutes and 57 seconds - buckle up.

Attention: BPM changes at short notice!