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Uprising Space Bass Dubplate

Thousand Yard Stare is re:ni's 3rd 12" and her first on re:lax, the label and club-night she runs with Laksa. Following on from records from Harba, Jurango and Laksa, the ep stays true to the imprint's exploration of emotive high-tempo club records which marry the character and energy of the hardcore continuum with technical precision and slick sound design. With her distinguished alien vocal chops it’s proper ‘GET IN UR HED’ business.

The title is a nod to the dissociative state we can find ourselves in as a result of trauma, and how creativity/music is able to illustrate emotions that words cannot.

Sonically the ep is continuation of the bass-driven, vocal-led 140-150bpm territory explored on her Timedance and Ilian Tape records, this time more explicitly drawing on inspiration from electro, drill and jungle in the dynamic drum programming, growling 808 bass and icy snares that feature across the 3 tracks.

Having been part of the family for quite some time now, Lauren Bush aka re:ni joins the Timedance roster with an incredibly potent quartet of Techno infused bass-bin weaponry.

« BeautySick » sees re:ni plunging into a world of intoxicating serpentine grooves. Spectral vocal slabs chime like echoes of a distant hallucinatory trance, while industrial drumworks find a mesmerizing counterpoint in eerie dubwise atmospheres.

These four compositions not only showcase re:ni's sonic evolution but also explore the transient moments where darkness converges with light. They stand as a testament to the sonic prowess of one or favorite dancefloor sorceress.

Picture Hakime Sorayama’s ‘Sexy Robot’ in front of an unreasonably large stack of speakers at a dimly lit sound-system dance; this is the soundtrack.

Press + Tour highlights :
DJ Mag, Resident Advisor, XLR8R, BBC6 Music (Sweatbox Mix for Sherelle), First Floor, The Quietus, Phonographe Corp + more TBA

Upcoming tour dates for Q1-Q2:UK, Switzerland, Netherlands, Germany, Sweden, Belgium, Slovenia, Ireland, Australia, Croatia, USA

Re:ni kicks off the tape series of her and Laksa's new label re:lax.

We're proud to present our second release: Contemplation EP.

This release sees label owner Cavilla deliver a sound that reflects the label's vision. Blending Goa and psytrance with tribal influences, Contemplation EP represents the style and direction that Mind Racer Records is all about.

Cavilla is a DJ and producer from Gibraltar whose music combines progressive trance with psychedelic, goa and psytrance influences. A passionate vinyl collector and co-founder of Creatures of the Night EU, he has developed a distinctive sound built around hypnotic melodies, raw basslines, and driving energy.

Contemplation EP is Cavilla's debut release and his first EP on vinyl, introducing the sound that defines his artistic vision.

A1 Don't Sweat It focuses on ever-building energy, combining a rolling bassline with Goa-inspired leads and acid synths. Driving from start to finish, it pulls you deeper into the trance. A2 Danger Zone blends psychedelic textures with tribal influences, creating a dark and moody atmosphere.

B1 The Truth combines acid synths with psy influences, bringing a trippy and immersive feel to the release. Psychedelic details and evolving elements shape its distinctive character. B2 Catch Me If You Can" rides on ethereal textures, raw growling basslines, warping elements, and a hypnotic melody, laced with a seductive vocal layer perfect for late-night settings.

Terminal Recordings launches with a four-track split release.

The A-side, produced by Luis Malon, delivering two cuts driven by heavyweight basslines, broken rhythms and machine-controlled tension. Make Shoot sets the system in motion with relentless groove and low-end pressure, while Inside Your System dives deeper into a darker, more hypnotic environment where fractured percussion and synthetic textures take control.

On the B-side, Molen takes over the signal with a pair of electro transmissions. Pathcord unfolds through precise sequencing, robotic funk and evolving circuitry, building a dynamic journey across interconnected rhythms. Codec closes the release with sharper frequencies, coded melodies and futuristic electro architecture designed for late-night dance floor communication.

The sequence has started.
Enter the Terminal.

Three decades since Global Underground began defining what a superstar-DJ mix album could sound like, this anniversary release breaks from the format entirely. Instead of just one artist focus, the focus is on the decadal number: here there are 30 artists, 30 new exclusive tracks - and no mixing. Guy J, Rodriguez Jr., Quivver & Dave Seaman and an unexpected Nadia Ali/Frankey & Sandrino pairing headline the tracklist, compiled to represent the current state of the progressive-house lineage. Collector's edition aside, the standard triple-vinyl set on purple, orange and aqua vinyl is the one you wanna own.

Global Underground ist stolz darauf, diese wegweisende Veröffentlichung anlässlich unseres 30-jährigen Jubiläums präsentieren zu dürfen. Dreißig Künstler, dreißig brandneue, exklusive Tracks – zur Feier von dreißig Jahren, in denen wir euch die allerbeste elektronische Musik präsentieren. Auf „THIRTY“ sind einige der dynamischsten Künstler der Dance-Musik vertreten: Guy J, Rodriguez Jr., Quivver & Dave Seaman, Nicky Elisabeth, Yulia Niko, HotLap, Spencer Brown, eine ganz besondere Zusammenarbeit zwischen der legendären Nadia Ali und Frankey & Sandrino sowie viele weitere.

A defining electroclash anthem returns to wax. Tiga & Zyntherius's cult classic Sunglasses at Night gets the deluxe vinyl treatment, featuring the iconic original 12" mix that set dancefloors ablaze in the early 2000s-plus a thunderous rework by techno titan Chris Liebing, who injects it with deep, industrial muscle for the modern floor.

Whether you're chasing nostalgia or sonic intensity, this is a must-have release for collectors, selectors, and nocturnal creatures alike.

CLUB U NITE RECORDS PRESENTS: HIS MASTER’S VINYL EP

Club U Nite Records takes it straight back to the early ’90s with four raw and swinging house cuts.

Manhattan Project opens with “Shufflin’ On” – a fat, slamming shuffle groove packed with jazzy touches, swinging drums and a classic old-school organ. “Everybody Move” follows with chunky Rhodes loops, soulful samples and a straight-up floor-moving vibe. Killer!

On the flip, Black Chunes Productions delivers “Jerk Yu Body”, channeling the raw swing and chord-driven energy of the early-’90s New Jersey vibe. Shuffled hi-hats, snares and dark leads bring the groove of that era straight back.

Reign Of Rhythm closes things out with “Organic Pressure” – stripped-down, driving, dope organ house. Minimal, but seriously fat.

Four cuts of pure 1991-inspired house gold.

The sun sat high above the desert outside Joshua Tree on October 17, 2024, baking the rocks and shrubbery outside the Farrington Observatory as a small group of invited guests ventured up a steep path towards the telescope. Kyle Simon, the artist and printmaker who founded the Observatory, was standing outside the print studio sat below the towering cylindrical building, greeting friends alongside his wife Sarah and lifelong friend Brian Weitz, the musician widely known as Geologist of Animal Collective. Simon and Weitz had spent the previous day testing and retesting a system that would transform the light of the oncoming full moon captured by the gigantic telescope into a signal that would modulate the control voltage of Weitz’s modular synthesizer. As the sun dipped below the horizon line, the audience gathered on a small wooden patio surrounded by speakers while Weitz readied himself behind the array of patches and knobs. Simon addressed the group, presenting the history of The Sirens, the sonic exploration of the night sky’s mystical and scientific significance about to unfold.

The music conjured under the Hunter’s Moon that night is now documented on this first official release of The Sirens, which was conceived by Simon and Weitz as a recurring performance piece and sound installation. Over a decade ago, Simon began immersing himself in literature on humanity’s sonic relationship to the celestial realm, including Homer’s Odyssey, Plato’s “Spindle of Necessity, ” Kepler’s Harmonices Mundi, and the field of astroseismology. He fitted homemade telescopes with photodiodes and optical sensors to make the images audible, finding latent patterns in the noisy sonic signals he began receiving from the stars. With Weitz, the process expanded as the signal was routed through an analog amplifier and set to modulate the pitch, filter, and other elements of his synthesizer. Together they developed a system of improvisation, with Simon adjusting the telescope to change the intensity of the light based on its relationship with the moon’s position (imagine a theremin player moving their hands in subtle, meaningful motion), and Weitz responding to that input in real time: bending it, amplifying it, or letting it stand on its own. The duo debuted the piece at the Integretron in Joshua Tree in 2018, providing a crucial proof of concept for the performance at Farrington featured here.

The first thing the listener hears on The Sirens is the opening of Farrington Observatory, the cranking of motor and metal. As the lens of the telescope is exposed to the evening air, a wavering drone emerges from the synthesizer, flickering at the margins, the tuning of the oscillators adjusting to the rapidly cooling desert air. The piece progresses and the drone becomes a luminous, spherical constant, bathing the listener in pure tone as Weitz draws out harmonically ambiguous melodies that spiral upwards. Electronics crackle and convulse, coalescing into dense dissonance before widening out into an open octave. Just as the moon orbits the Earth and the stars shift as the planet rotates, so each sonic element appears in flux, interrelationships slowly forming and falling away. Divided into two parts, The Sirens flows as a continuous conversation between the artists and the starlight completing its thousand-year journey across the galaxy.

The Sirens belongs primarily to a lineage beyond music: of sea captains navigating by looking skyward, of astrophysicists studying the formation of the Milky Way, of the modern myths of werewolves, of the stories embedded in constellations. As Simon writes in the album’s extensive liner notes, “These stories and explorations reveal a collective yearning to become conscious of our connection to the universe, our deep-seated desire to understand how we fit into it all.” This music underscores the history of the night sky as the place where poetry and science find common ground, where exploration hinges on the imagination. Driven by curiosity and ingenuity, Weitz and Simon look up and wonder.

Charlotte de Witte now unleashes her slamming three-track EP ‘The Resistance’, featuring Theo Nasa and XSALT, out on KNTXT. It follows the astonishing summer tour of her new audiovisual show ‘The Resistance’, including a spectacular ‘XXL’ version at Belgium’s Rock Werchter in July, for a 40,000 audience watching from inside and outside the tent.

World #1 techno artist Charlotte de Witte’s new show continues a standout year of experimental ventures and celebrations, global pop-up shows, monster street parties, incredible new music (EPs and Deluxe LP)… and most recently ‘The Resistance’ AV show world premier at UNVRS Ibiza and the EU tour. The new ‘The Resistance’ EP is hard, fast, and uncompromising. It features Theo Nasa, whose raw, deep techno EP ‘Lifeline’ was released on her KNTXT label; vocal artist / longtime collaborator XSALT, (previously on ‘No Division’, ‘Overdrive’, ‘Roar’, ‘How You Move’); and Charlotte’s own vocals on a personal track ten years in the making.

‘The Resistance’ EP title track feat. Theo Nasa is urgent, demanding, unapologetic. Juddering main theme, rattling hyperspeed beat, spacey hoover swoops form a matrix for the deep, amused authoritative voice of Nasa – ‘we are unity, we are techno’. The brief ‘The Resistance (Intro Version)’ opens with futuristic FX and Nasa’s voice to the fore introducing the techno credo.

‘Never have I ever teased a track this much as I teased ‘The Resistance’. From the moment the track was being made in the studio, I knew this was going to be a special one. Theo Nasa captures the spirit of the underground and guides you through the essence of club culture like no one did before. An entire A/V show grew out of this feeling, this philosophy. It’s one of the biggest tracks I’ve ever made.’ Charlotte de Witte

‘See Through The Lies’ feat. XSALT: futuristic FX, fast stabby synth theme, and XSALT intoning ‘see through the lies. It’s time to take control’. A message of defiance. ‘XSALT delivers again on ‘See Through The Lies’, offering his own take on the EP's theme. Open your eyes. Break the illusion, see through the lies. Release the pressure. It’s time to take control!’ de Witte says.

‘Another Place’ has relentless pace, twanging pizzicato synth, and de Witte’s whispered phrases becoming full voice. ‘’Another Place’ has been in the making for over a decade. It saw the light of day in Brussels, where the lyrics took shape together with my friend One Track Brain. The track was forgotten and resurfaced years later, leading to an entirely new track created around that magical vocal from all those years ago. This is an EP very close to my heart.’

At the heart of ‘The Resistance’ EP and AV show is a message central to de Witte’s work: Protect Club Culture and the communities that sustain it. That’s why de Witte is donating all proceeds from The Resistance EP to The Nighttime Foundation, a global nonprofit dedicated to safeguarding and shaping the future of nightlife, empowering grassroots communities and promoting nightlife as a vital form of culture worldwide.

Colours, to the mast, well and truly nailed.

Madelyn Byrd returns to Glasgow’s Somewhere Press with a hazed set of weightless soundscapes. »Night Rider« opens in widescreen with the chirp of cicadas dancing across a desert landscape, before Shiroishi’s saxophone eventually cuts through the dark like neon. The story Byrd tells is close to their heart: they spent their teenage years in the Sonoran Desert, the vast subtropical expanse spanning parts of Arizona, California, and Mexico. Its seemingly alien landscape — pocked with giant, tree-like cacti and looming rocky outcrops — is lodged in the cultural memory, a quality Byrd draws on as they slowly reveal their poetic narrative.

The album plays like a road movie of sorts, moving through Byrd’s memories and setting them to very different rhythms. Clattering drums emerge on »Of Nature, Of Bodies, Of Dreams«, while Byrd’s soft tones, processed to sound almost otherworldly, glide gently across the metallic clangs. Each track highlights a form of movement: there is the microscopic, insectoid crunch of »Imprint«, where guitar prangs meet Shiroishi’s spirited runs, while »Into Sonoran Pool« creates motion from the atmosphere itself, recreating the thick desert air with shimmering electrical currents and psychedelic processes.

At this point, the album begins to echo Robert Ashley’s late-period theatrical work: compositions that broke with familiar formats, juxtaposing dialogue with knowingly experimental orchestral flourishes. Byrd strikes a similar note through a fusion of poetry, sound design, choral music, and chiming, listless ambient elements that also recall Harold Budd. Budd grew up in the Mojave Desert, which borders the Sonoran, creating an eerie parallel with the moods he conjured throughout his long career.

Byrd finds a similarly aesthetic link to the West Coast landscape, referencing the history of experimental music while establishing their own voice. As the album rides into the sunset with a roar of engines, they offer a distinct vision of pop: »What Is, What Was« integrates a chugging break and ketamised vocal hook, while the finale, »In Perfume, Remember«, lands as a James K-like heartmelter.

With the blessing of Otomo Yoshihide himself, one of the cornerstones of nineties avant-garde officially returns to vinyl. A melting pot of musicians, sounds, and experimentation, all masterminded by the Deus Ex Machina of Fukushima. These jazzy rock noise compositions haven’t lost a single shred of their original allure, striking us today with the same raw power and innovative drive of thirty years ago, when they first burst onto the global avant-garde scene.

Few records sit between genres as confidently as Schöneberg. Not quite techno, not quite trance, not quite house, and precisely because of that, instantly recognisable as something of its own. Originally released in 1993 as part of Marmion's Berlin E.P. on Superstition Records, the track became one of the defining anthems of early European club culture, championed by Tony De Vit at London's legendary Turnmills Trade events and played in the best clubs across the UK, Benelux and beyond.

Schöneberg grew directly out of the duo's DJ sets at the Bunker in Berlin-Mitte. Between techno and trance, Mijk van Dijk and Marcos López were looking for a common ground. The track was recorded in a single night, the result of that search. Its defining details were deliberate: the hi-hat arriving unusually late, the short disorienting break that became a trademark. As López puts it: "For me the piece is still a condensed version of an entire DJ set."

In 2023, Superstition marked the 30th anniversary with a 21-track remix collection spanning three decades of reinterpretations. Now the track returns to vinyl, focused and stripped back to three versions: the original 1993 mix, the in itself legendary Marmion Remix, and the interpretation by DJ T., appearing on vinyl for the first time.

Pressed on orange coloured vinyl, this 2026 reissue sees all three versions carefully remastered from the original sources and newly recut for vinyl, bringing renewed depth and clarity while preserving the character that made Schöneberg a classic.

Non Series marks its 15th anniversary with a special compilation gathering artists from different backgrounds whose music reflects the spirit and musical identity of the label. Most have never released original music on Non Series, but their individual approaches and distinctive sound fit naturally within this compilation.

An eclectic selection of tracks, ranging from hypnotic sequences and intricate percussion to heavy low-end pressure and deep atmospheres, coexists without following a predetermined formula, allowing each contribution to retain its own character.

Rather than presenting a chronological retrospective, the compilation offers a snapshot of the label's ongoing evolution, bringing together artists from different backgrounds and generations whose work finds a natural connection with the Non Series aesthetic.

Fifteen years of releases, collaborations and continuous exploration, brought together in a compilation that looks back without attempting to define the label, leaving its sound open to further evolution.

For over 25 years, David Madson (aka Odd Nosdam) has been stationed away from the light of the mainstream, diligently working the nightshift. Every so often, we awake to find another of his bleary and beautiful missives slung into the waking world – albums whose assemblages of sampled grooves, atmospheres and voices are unified by a hallucinatory sense of melody, like disparate visions strung together through ribbons of sleep-talk. From his earliest days as a member of the seminal group cLOUDDEAD, through his remixes for artists such as Boards of Canada and Black Moth Super Rainbow, Nosdam has been reporting back from his rounds upon the perimeters of culture and consciousness, forging a musical language all of his own.

On Patrol is the second Odd Nosdam LP to be released on The Notwist’s imprint Alien Transistor – following on from the 2019 album Mirrors – and continues a collaborative history that begun with a 2008 remix of The Notwist song, “Sleep”. It’s a love letter to the vinyl format, produced with the aim of optimizing for a single LP. This objective permeated every aspect of the album’s production, from the duration of each side through to the vinyl mastering (Jessica Thompson) and lacquer-cutting (Dubplates & Mastering, Berlin). As we've come to expect, the album is built almost entirely from found sounds, many of which were taken from obscure and second-hand vinyl gathered during Nosdam’s ceaseless crate-digging escapades. Other sources include field recordings made in 2022 at the Catalonia summer home of artist Salvador Dalí, which are baked into the swirling sci-fi glide of “Here to Know (Adéu Mix)”, and a sumptuous clunking bass line courtesy of Organi’s Mike Walti, which runs like an infinite highway through the fuzzy, sunbaked sprawl of “Deepsimple”.

Odd Nosdam’s work has always swept the entire atmospheric spectrum, from rhythmic vigour to levitational beauty. On Patrol is perhaps his finest assimilation of these extremes. “Sgt. Pepsi” is the perfect case in point: a formidable slow groove capsizes into vinyl crackle after a mere minute, before the song resurrects itself through sweeping strings and vocal harmonies, sliding against each other like the overlain romantic denouements to a dozen Hollywood films from the 1940s. Elsewhere, “Get You In (Belong Mix)” drapes shoegaze guitar over a trundling funk backbeat, straddling the physical world and the outer realms, while hushed voices point toward the song's implied themes of cultural cliques, critical consensus and the plight of the eternal outsider: “Sure, I can get you in... these people are my friends, I’m one of them - I belong.”

This is music that both endures and disappears. Odd Nosdam has always wielded a strange relationship with time, scrambling association with any specific era, weaving together numerous tempos simultaneously. There is no master clock. Each track could happily hold up as an infinite loop, yet Nosdam clearly favours the potency of the gone-too-soon, applying the fadeout just as hypnosis starts to crest. Indeed, the songs are both the product of meticulous long-term construction and spontaneity. While the foundations of On Patrol have come together over several years, the recording process involved channeling vibes through a vintage Roland Space Echo and bouncing song fragments back and forth from hard disk to cassette 8-track, gifting a phased permanence to creative decisions made on the fly – a hat-tip to the production processes of Nosdam's longtime hero, Lee ‘Scratch’ Perry. Like a recurring dream, On Patrol appeals to both the plains of momentary ephemera and the long-established backchannels of the unconscious, equal parts revelation and deja vu.

Text by Jack Chuter
Artwork by Ian Ferguson

2026 Repress
The Teflon Dons' Rudiments EP, released in 1996 on Worldship Music and now reissued on FRL Classic edition, is one of those records that perfectly embodies the most authentic spirit of 90s underground deep house. From the very first bars, Rudiments EP stands out for its raw but deeply soulful sound, built on filtered samples, “dirty” drum machines (typically SP-1200) and an aesthetic that mixes Chicago and Detroit.

2026 Repress

(remastered classic incl DL card) Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition. In the late nineties, the budding producers Morgan Geist and Darshan Jesrani bonded over their shared love of slower tempos and '70s and '80s NYC club culture. Obsessed with record digging and the sounds they heard on late-night "club classics" radio shows—and turned off by current releases they saw as artlessly "updating" sublime disco by sampling, filtering and subjugating them with huge kick drums —the duo set out to discover how their favorite old 12" records were made. They naturally gravitated towards extended dubs of songs—full of strange mistakes and echoing backing tracks—instead of the better-known vocal versions. Lacking the big budgets and gear that made so many of their favorite classic records come together, they were forced to take a guerrilla approach. They reprogrammed their techno-oriented arsenal of secondhand synths and samplers, using novel digital recording technology to capture live instrumentation and prioritizing mood over hooks, and the resulting music was just wrong enough to sound unlike anything else being released at the time.After just four underground 12" releases, the duo—now well-known as Metro Area—released their first and only album, Metro Area, in the fall of 2002. Fifteen years later, it's time to celebrate the culmination of their shared history and inspiration once again. Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The 12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition.

Spiritual Jazz 19" besteht aus zwei Doppel-LP-Sets, die den Einfluss und die Ausdrucksformen jenes Underground-Jazz beleuchten, der sich in der zweiten Hälfte des 20. Jahrhunderts in Kalifornien und den angrenzenden Bundesstaaten entwickelte. Die insgesamt 24 Titel erscheinen in Gatefolds und enthalten Liner Notes, Fotos und Download-Codes.

Die US-Westküste wird oft mit dem Boom des Cool Jazz in den 1950er Jahren in Verbindung gebracht; doch überall dort, wo Jazz gespielt wurde, florierten auch modale, afrozentrische und spirituell geprägte Strömungen – und die Westküste bildete da keine Ausnahme. In der Nachkriegszeit rangierte die Central Avenue in L.A. als bedeutendstes Jazz-Viertel Amerikas direkt hinter Manhattan. Auch wenn Manhattan in jenen Jahren das faktische Zentrum des Jazz-Universums war, übte Kalifornien eine stärkere Anziehungskraft auf die Kultur im Allgemeinen aus und zog Menschen aus dem ganzen Land in den Bann seiner aufkeimenden Gegenkultur der 1960er Jahre.

Hier untersuchen wir die Auswirkungen dieser Gegenkultur auf den Jazz. Wir beleuchten den Einfluss der Black Panthers – der prägendsten Kraft innerhalb der schwarzen politischen Bewegung nach der Ära der Bürgerrechte – und widmen uns den neuartigen spirituellen Praktiken und Religionen des aufkommenden New Age. In Kalifornien waren zahlreiche eigenwillige Independent-Labels wie Arhoolie, Theresa und Nimbus sowie viele weitere private Unternehmungen ansässig; wir präsentieren die Ergebnisse ihres Strebens nach musikalischer Freiheit. All diese Faktoren beeinflussten die Entwicklung und Blütezeit des Jazz und der Jazzmusiker an der Westküste – und die Evolution des Spiritual Jazz in dieser Region wird hier eingehend betrachtet.

Jolene Cuts returns with a 5-track vinyl-only masterpiece that channels the golden era of 1998 French House while pushing it into the future. No edits—just 100% original productions from Danny & Mike, two true craftsmen of filtered house grooves. “Jackpot” kicks things off with a euphoric, sample-driven floor-burner, dripping in funk and irresistible filter sweeps that recall the raw magic of classic Roule and Crydamoure records. “Voiture” follows with a sleek, late-night ride through hypnotic basslines and shimmering disco loops, perfect for peak-time club moments. On the flip, “So Cruel” brings soulful vocal chops and deep, rolling grooves in a way that nods to the emotional side of the French Touch era. “Love U” injects pure joy into the mix—swinging drums, warm filters, and a seductive disco flair designed to light up any dancefloor. Closing it all, “Disco Road” is a driving, high-energy weapon blending pulsating bass and filtered hooks that feel like 3 a.m. in Paris circa ’98. This is a love letter to French House—strictly vinyl, strictly limited, five unmissable club bombs. Perfect for DJs who crave that raw filtered energy, vinyl purists, and anyone who knows the true essence of French Touch: groove, soul, and pure dancefloor ecstasy. Once it’s gone, it’s gone.

J.S. ZEITER comes through heavy on Accelerate EP, four cuts built for deep pressure and late-night motion. Raw grooves, sharp textures, no filler — just straight underground energy from start to finish. A serious weapon for heads into stripped-back, hypnotic techno.

Dina Summer is the Berlin-based collaborative project of Greek-German dark-disco couple Local Suicide and Bavarian electronic producer Kalipo. The supergroup began working together in 2019 and have since been refining their combined sound. It is a unique blend of their influences, drawing from 80s italo disco, new wave, EBM and early 00s electroclash for a dark retro-futuristic synth/wave pop sound that stands out with club-ready basslines, epic melodic hooks, and lyrics ranging from dadaist abstractions to empowering, thought-provoking themes.

The trio will return with their new mini album, “Children Of The Night”, bringing together all the elements that have defined their sound so far. From the disco infused synth pop of “Burning Heart” and “Bats In Paris,” recalling their debut album Rimini (2022), to the dark club driven tracks “Fuel”, “Komodo 3000”. and the title track “Children Of The Night,” which echo the atmosphere of Hide & Seek (2024), and the dark wave influenced indie songs “Rat Race” and “On The Road”, which would have felt right at home on “Girls Gang” (2025), the release showcases the full spectrum of the band's musical identity. The nine track record takes its title from and pays homage to Bela Lugosi's iconic line in Dracula (1931): “Listen to them. Children of the night… what music they make”.

Format: Ltd transparent clear vinyl

Dina Summer ist das in Berlin ansässige Gemeinschaftsprojekt des griechisch deutschen Dark Disco Duos Local Suicide und des bayerischen Elektronikproduzenten Kalipo. Die Supergroup begann 2019 gemeinsam zu arbeiten und hat seitdem ihren gemeinsamen Sound kontinuierlich weiterentwickelt. Dieser verbindet auf einzigartige Weise ihre Einflüsse und schöpft aus Italo Disco der 1980er Jahre, New Wave, EBM und Electroclash der frühen 2000er. Das Ergebnis ist ein dunkler, retro futuristischer Synth Wave Pop Sound, der sich durch clubtaugliche Basslines, epische melodische Hooks und Texte auszeichnet, die von dadaistischen Abstraktionen bis hin zu empowernden und zum Nachdenken anregenden Themen reichen.
Das Trio kehrt nun mit seinem neuen Mini Album „Children Of The Night“ zurück, das alle Elemente vereint, die ihren Sound bisher geprägt haben. Von dem Disco geprägten Synth Pop von „Burning Heart“ und „Bats In Paris“, der an ihr Debütalbum „Rimini“ (2022) erinnert, über die düsteren, cluborientierten Tracks „Fuel“, „Komodo 3000“ und den Titelsong „Children Of The Night“, die die Atmosphäre von „Hide & Seek“ (2024) aufgreifen, bis hin zu den von Dark Wave beeinflussten Indie Songs „Rat Race“ und „On The Road“, die ebenso gut auf „Girls Gang“ (2025) hätten erscheinen können, zeigt die Veröffentlichung die gesamte Bandbreite der musikalischen Identität der Band.
Das Album mit seinen neun Tracks trägt seinen Titel in Hommage an Bela Lugosis ikonische Zeile aus dem Film Dracula (1931): „Listen to them. Children of the night… what music they make.“

Auf den Alben der “Verve Remixed”-Reihe war Nina Simone stets die unbestrittene Favoritin. Jetzt wird
die “High Priestess of Soul” auf “Verve Remixed // Nina Simone” mit acht brandneuen Mixen gefeiert. Die
Gelegenheit zu dem Projekt ergab sich, als Verve Records Anfang 2026 die Feierlichkeiten zu seinem 70-
jährigen Jubiläum einläutete. Unter dem Titel “Year of Nina” begann man damit, jeden Monat einen brandneuen Remix eines Nina-Simone-Klassikers als digitale Single zu veröffentlichen. Das Echo der Musikfans
war überwältigend. Der universelle Appeal von Ninas Musik wird dadurch verdeutlicht, dass mit Solomun,
DESIREE, Supershy, Mochakk, HAAi, Austin Millz, Dublon und Antdot acht der derzeit angesagtesten
DJs, Remixer und Produzenten aus unter anderem den USA, Brasilien, Südafrika und Großbritannien für
das Projekt gewonnen werden konnten.
Purple color LP, 140g, Single Sleeve

Das dritte Studioalbum von Holy Motors, ,Heaven's Night", verbindet die für die Band typischen westlichen Traumlandschaften mit eingängigen Pop-Melodien und New-Wave-Klängen, die für die estnische Band Neuland darstellen. Bemerkenswert ist vor allem eine neue Sanftheit in den Songs auf ,Heaven's Night", in denen Figuren vorkommen, die sich von den düsteren Sonnenuntergängen und der Outback-Melancholie des 2020 erschienenen Albums ,Horse" lösen. Wie die Band selbst sagt, ist ihr neuer Sound ,süß wie tropfender Honig, traurig wie Sommerregen". Zweifellos ist ,Heaven's Night" das bisher abwechslungsreichste Album von Holy Motors. Vom rasanten Galopp von ,The Last Ones" bis zum poppigen Herzstück ,Hellishly Hot" verleiht ,Heaven's Night" der Welt der Band eine neue Wendung - eine, die etwas weniger gespenstisch und dafür etwas gefährlicher ist.

Das dritte Studioalbum von Holy Motors, ,Heaven's Night", verbindet die für die Band typischen westlichen Traumlandschaften mit eingängigen Pop-Melodien und New-Wave-Klängen, die für die estnische Band Neuland darstellen. Bemerkenswert ist vor allem eine neue Sanftheit in den Songs auf ,Heaven's Night", in denen Figuren vorkommen, die sich von den düsteren Sonnenuntergängen und der Outback-Melancholie des 2020 erschienenen Albums ,Horse" lösen. Wie die Band selbst sagt, ist ihr neuer Sound ,süß wie tropfender Honig, traurig wie Sommerregen". Zweifellos ist ,Heaven's Night" das bisher abwechslungsreichste Album von Holy Motors. Vom rasanten Galopp von ,The Last Ones" bis zum poppigen Herzstück ,Hellishly Hot" verleiht ,Heaven's Night" der Welt der Band eine neue Wendung - eine, die etwas weniger gespenstisch und dafür etwas gefährlicher ist.

Van Ghost is the sinister collision of fine art and grimy underground Hip Hop. Released in 2018, the album pairs Washington, D.C. MC ANKHLEJOHN with producer Big Ghost Ltd. for an 11-track journey inspired entirely by the paintings and troubled world of Vincent van Gogh.

Each song takes its name from a Van Gogh work, from The Night Café and The Yellow House to The Starry Night, The Red Vineyard, and The Potato Eaters. But rather than simply paying tribute to the painter, ANKHLEJOHN and Big Ghost translate that imagery into something darker, rawer, and distinctly their own. Big Ghost's ominous, cinematic production creates a bleak and atmospheric backdrop for ANKHLEJOHN's abrasive, unpredictable delivery and vividly street-centered lyricism.

Released first as three EPs, 9PM, 12AM and 3AM, each explores a different moment of the night, from the anticipation of getting ready, to the unifying energy of the dancefloor, and finally the conversations and reflections that linger long after the music stops. Together, they culminate in The Night's Not Dead, a complete body of work that celebrates nightlife as far more than a party.

Mit Hurra! Hurra! So nicht. veröffentlichte Gisbert zu Knyphausen 2010 den Nachfolger seines vielbeachteten Debüts und festigte damit seinen Ruf als eine der prägendsten Stimmen des deutschsprachigen Singer-Songwriter-Genres. Das Album wirkt gegenüber dem Erstling reifer, melancholischer und musikalisch ausgearbeiteter, ohne dabei die unmittelbare emotionale Kraft seiner Songs zu verlieren. Entstanden im renommierten Electric Avenue Studio von Tobias Levin und eingespielt mit seiner damaligen Liveband, profitiert die Aufnahme von der Erfahrung zahlreicher Konzerte und einer außergewöhnlich eingespielten Besetzung. Mit der Wiederveröffentlichung auf dem bandeigenen Label Rastplatz Krachgarten wird ein zentrales Werk im Katalog von Gisbert zu Knyphausen erneut verfügbar gemacht und richtet sich sowohl an langjährige Hörer als auch an eine neue Generation von Songwriter-Fans.

Celebrating the 30th anniversary of its original release, Night Song returns in a special edition on rose leaf green coloured vinyl. A Grammy Award nominee, the album captures the extraordinary meeting of the legendary Nusrat Fateh Ali Khan and Canadian guitarist, producer and composer Michael Brook, whose atmospheric soundscapes provide the perfect setting for Nusrat’s ecstatic, transcendent vocals.

With Nusrat’s legacy continuing to reach new audiences following the landmark 2024 release of the unearthed archive recording Chain of Light, Night Song remains one of the defining cross-cultural collaborations of its era. This anniversary edition includes a printed inner sleeve with updated liner notes and photographs.

Pünktlich zum großen PROJECT PITCHFORK Jubiläum und der anstehenden Tour feiern zwei außergewöhnliche Veröffentlichungen ihre längst überfällige Premiere auf Vinyl: „First Anthology“ und „Second Anthology“. Zwei sorgfältig zusammengestellte Rückblicke, die nicht nur die Entwicklung einer der prägendsten Dark-Electro-Bands aller Zeiten nachzeichnen, sondern auch eindrucksvoll zeigen, warum PROJECT PITCHFORK bis heute nichts von ihrer Faszination verloren haben.

FIRST ANTHOLOGY Die ersten zehn Jahre einer außergewöhnlichen Band – von den visionären Anfängen bis zum internationalen Durchbruch. „First Anthology“ vereint die frühen Klassiker und Meilensteine von PROJECT PITCHFORK und dokumentiert den Aufstieg einer Formation, die den Dark-Electro-Sound nachhaltig geprägt hat. Ein eindrucksvolles Zeitdokument voller wegweisender Songs und zeitloser Hymnen.

Nintendo and Laced Records are linking up to bring the sweeping music of The Legend of Zelda™: Breath of the Wild to vinyl records with this 8LP box set featuring nearly four hours of music.

This collaboration marks the first time a Nintendo soundtrack has been commercially released on vinyl outside of Japan. This box set features heavyweight LPs that come in printed disc inners and spined inner sleeves, all housed in a rigid board dual slipcase. All packaging is adorned with archival artwork by the team behind The Legend of Zelda: Breath of the Wild. Each disc side is sequenced around a theme, reflecting players’ adventures in the game, whether exploring Hyrule, battling enemies, freeing the Divine Beasts from Calamity Ganon’s hold, or unlocking the mysteries of the Shrines. The unforgettable music of The Legend of Zelda: Breath of the Wild introduced bold new musical textures to the series, while embracing classic themes. From the first spine-tingling piano notes of “Main Theme” to the final choral-orchestral stirrings of “Epilogue”, the soundtrack follows the ups and downs of Link’s epic adventure. Each element of the game enjoys a distinct musical palette, including the iconic minimalist piano of the open world, the alien sounds of Sheikah technology, the tension-filled rhythms of enemy encounters, and the orchestral grandeur of the Divine Beast battles. The pieces were composed by Manaka Kataoka, Yasuaki Iwata, Hajime Wakai, and Soshi Abe. Along with this wonderful soundtrack on vinyl, fans can experience the full digital soundtrack for The Legend of Zelda: Breath of the Wild by downloading the Nintendo Music app.*

Back from ‘96 — Abacus’ legendary The Abacus EP returns, now reissued as Erotic Illusions. Deep, soulful and hypnotic house at its finest, straight from the Guidance era. Pure timeless heat — grab it before it vanishes again.


DJ Feedbacks :

Laurent Garnier : Classic <3 <3
Nick Hoppner : OOOOOH YES
Dan Beaumont (Chapter 10 / NTS) : Decadent dub for me! lovely
Louise Chen (NTS) : Huge fan, this is a wonderfully sexy reissue!
Joel Martin (Quiet Village) : Timeless Classic from one of the masters - Essential!
Kölsch (IPSO / Kompakt) : Still sounds so fresh
Sven von Thuelen (SVT / Work Them) : Sublime!
Josh Wink (Ovum) : Sounds just as great as when it first came out!
Satoshi Tomiie (Abstract Architecture) : Soooo good! Every details tuned precisely
Carista : sickkkk
Crackazat (Freerange / Local Talk) : yes. of course
Anthony Collins (Frank & Tony / Scissor & Thread) : fantastic record
Hunee (Rush Hour) : classic!
Call Super (Houndstooth) : lovely thxxx
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Radio Slave (Rekids) : Such a big fan !!! Full support and congrats on the re-release. Peeps need to know about "Abacus".
Ben Sims : Now downloading... will check asap!
nd_baumecker (Ostgut Ton) : YAAAAAS! Finally I have this in a better quality than my vinyl rip from the original 12". Vinyl is preordered. Thanks!
Jonnie Wilkes (Optimo) : SEMINAL.
Lawrence (Dial) : OMG Fave Classic!
Fouk (House of Disco / Razor N Tape / Room With A View / Heist) : Ooooh yes! <3
Hector Romero (Def Mix) : Love it. H
Aleqs Notal : Lovely repress
Alinka (Twirl / Classic / Crosstown Rebels / Batty Bass) : Beautiful tracks
Terry Farley : fantastic reissue for those that missed the golden era
Ian Pooley (Pooledmusic) : Sooooooooo good !
Marcia Carr : The Dub without a lot less of the sleazy vocal is cool.
Nick Holder : FIRE
DJ Bone (FURTHER) : Poetic Illusions and Decadent Dub both work for me.
Nat Wendell (Depth of My Soul / Courtesy of Balance / Love & Loops) : classy!!
Luke Solomon (Classic / Freaks / Music For Freaks) : absolute classic Kenny Hawkes special xxx
ROD / Benny Rodrigues : !!!!
Domenic Cappello (Subclub) : still sounds fresh
Alexkid (Rawax / FUSE / NG Trax) : Total Dopeness
Jimpster (Freerange) : An absolute classic from the golden era! Got the vinyl but I'm sure these new masters will sound better than my well worn vinyl rip! Will keep on banging this beauty.
Bake (All Caps / Rinse FM) : the best! thank you for reissuing :)
Dj Deep (Deeply Rooted) : Nice to see this beautiful release available again
Kai Alce (Real Soon) : CLASSIK!!
Mr. V (Sole Channel / Strictly Rhythm / Salter / Defected) : Solid work on this classic Thanks
Baby Rollen (Holding Hands / Slump / Futureboogie) : timeless
DJ Gregory (Point G / Faya Combo) : Alwayes loved that classic
Tom Esselle (YAM / Rhythm Section / WOLF Music) : Killer reissue!
Harri (Sub Club) : nice, will play and support
Hifi Sean (Defected / Plastique) : Diggin' this dub big time
Jenifa Mayanja (Bumako Recordings) : This reissue sounds just as good second time around. Straight dance floor magic. Moody and dubby perfect to zone out to in a dark corner somewhere.
Demuja (MUJA / Let's Play House / Madhouse / Freerange) : nice!!
Marcel Dettmann : thx
Kosh (Syncrophone) : doesnt get any better than this
Dj Hutch (Ambers / Rinse FM) : Lovely deep business! Thank you!
Geir Aspenes (G-Ha / Sunkissed) : Kool, thanks
D'Julz (Bass Culture) : classic alert!

Rick Wade’s Late Night Basix returns in a fresh repress, keeping that raw Detroit deep house spirit alive. Heavy on groove, soulful in feel, and made for late-night sessions.
A must for heads who know the value of a true floor weapon.

2026 Repress

On Left At Sunset, Tornado Wallace taps into those fragile, glowing moments after a long night in the club, when the lights come up just enough, the bass softens, and the first hint of morning slips through the windows. Time feels suspended.
The lead track Asahi Ga Yondeiru (“the morning sun is calling”) captures that feeling perfectly. Built around Courtney Bailey’s gentle vocal, it drifts somewhere between late-night house and early morning reflection. It is not about the peak. It is about what comes after it. That quiet euphoria when you realize the night gave you something you will carry back into the real world. The rest of the EP stays in that same emotional zone: warm, slightly melancholic, but full of light. These are tracks for the very last dance, when the floor is half-empty, hearts are wide open, and every sound feels a little more meaningful. Not an ending, really. Just the beginning of whatever comes next.

Trumpeter, rapper and sonic wanderer Pan Amsterdam has carved out one of the most distinctive voices operating at the intersection of jazz and hip-hop today.

Pan Amsterdam is a musical enigma wrapped in an enduring riddle. His creator is a jazz musician from Houston who’s found fame working with Detroit punk rock God, Iggy Pop, and British indie royalty, Metronomy, and now makes shapeshifting, adventurous hip hop out of the music’s spiritual home, New York.

He’s an irreverent character born out of frustration and named after a misunderstanding, yet one who’s on the verge of releasing his fifth album of truth-slaying, genre-crossing rhymes and beats. The result is a catalogue that feels both deeply rooted in Black American musical tradition and completely untethered by convention.

Pan Amsterdam returns with ‘Panarama’, his fourth full length album and a bold reassertion of his hip hop identity, released via Def Pressé. Created by Houston-born, New York-based musician and composer Leron Thomas, the record finds Pan Amsterdam embracing the harder edges of his sound while continuing to blur the lines between jazz improvisation, abstract rap, punk attitude, and experimental production

Written as a response to contemporary life and the endless cycle of information, conflict and distraction that defines modern culture, ‘Panarama’ unfolds as a stream of consciousness journey through hyper-normalised realities. Across sixteen tracks, Thomas navigates social commentary, personal reflection, absurdist humour, and cultural critique, delivering his observations with the same spontaneity and freedom that have become central to the Pan Amsterdam project

Lead single ‘Szechuan Beef’, produced by acclaimed collaborator 1FS, serves as one of the album’s defining statements. Built around Thomas’ signature free-flowing delivery, the track explores the overwhelming nature of contemporary life, where domestic conflict, social division, entertainment scandals and political discourse become flattened into a constant stream of content.

In Thomas’ own words: “My stream of consciousness style comes quite naturally to me due to the conditioning of scroll down culture where everything, no matter how minor or extreme, is hyper normalised.”

Elsewhere, the track ‘Vanilla Ice’ was written in response to widely publicised ICE killings and the speed at which tragedy is absorbed and forgotten within online culture. Thomas channels the anxiety and emotional disorientation of endlessly consuming information, allowing his thoughts to unfold in real time as social commentary collides with everyday digital noise. The result is both deeply personal and sharply observational, reflecting the fragmented reality of modern life. Other album highlights include the cinematic, Interpol-esque opener - ‘Old Friend’ complete with shimmering guitar lines and an far-reaching introspective, no-filter vocal as Thomas teams up with Nick Zinner (Yeah Yeah Yeahs) and Brad Truax (Interpol) across multiple tracks, often the production traverses left-field indie territory, but always maintaining Pan Amsterdam’s unique musical identity throughout. For the hip hop purists and beats lovers there are plenty of riches to discover from the clever nostalgic sample flips of ‘Cutlery’, the sleepy lofi of ‘Shuriken’ and the wonky LA beat scene / early Flying Lotus era beats of ‘Drunken Noodles’ - all boasting quick witted lyricism. ‘Deep Fried Shiney Things’ explores early electro and industrial sonics while album finisher is an upbeat new wave / indie band cut which sees Thomas take a break from rapping, but of course never letting up on the sharp observations nonetheless


While his previous record explored more alternative territory, ‘Panarama’ marks a deliberate return to rap, as Pan Amsterdam explains:

“I just wanted to do a rap album again.I enjoyed making my last album, but I felt like rapping again. I like to have the freedom to move in between musical worlds that suit the current state I’m in. Frequency accommodating frequency.”

This philosophy runs throughout the album. Tracks move effortlessly between jazz-inflected arrangements, experimental beats, punk energy and underground hip hop aesthetics, allowing ideas to evolve organically rather than conforming to traditional structures. Thomas describes himself as an improviser first and foremost: “I think like an improvisor. That’s how my albums pretty much move. It’s improvisation.”

Featuring additional contributions from Spice Programmers, AnOtter and Mr. Shn, ‘Panarama’ presents a wide-ranging cast of collaborators while remaining firmly rooted in Thomas’ singular creative vision. The record embraces contradiction, humour and unpredictability, capturing fleeting thoughts and observations with the same freedom and spontaneity that define jazz improvisation itself.

A musical enigma wrapped in an enduring riddle, Pan Amsterdam has built a reputation as one of contemporary music’s true outsiders. The project emerged from frustration, experimentation and artistic freedom, with Thomas drawing equally from his background as a jazz musician and his collaborations with artists including Iggy Pop and Metronomy. Operating from New York while carrying the spirit of Houston’s musical heritage, Pan Amsterdam has developed a distinctive voice that sits comfortably between avant-garde jazz, underground hip hop and experimental music.

Reuniting with Def Pressé for ‘Panarama’, Thomas explores what he describes as the more hardcore side of his artistic identity:

“They let me do anything and everything I wanna do so long as it’s on audio, and I need that freedom. What may verbally be perceived as vulgar to one group of people may be very thoughtful and a poignant description of the times that we’re presently in, so I’m glad that I’m part of a label home that understands that.”

The threeway combo you never knew you needed. Sam Binga, Machinedrum and Cesco built the raw bones of these tunes across a single morning in LA, overlooking MacArthur Park, in an intense session that saw them throwing live Bingerian vocals, raw Brazilian shrimp-sellers and tweaked-out Acid lines into the melting pot.

Further sessions between Highland Park and Stokes Croft saw these bare bones jams get fleshed out into the four genre-bending tracks that make up the Niche Flex EP, all of which have been tested out in clubs and festivals across the world, and which land this September via Binga's Pineapple Records imprint, on both vinyl and digital formats.

While obviously handy in the studio, Team MACESGA (as nobody calls them) also can operate a DJ booth to a reasonably high standard, as witnessed at the raucous Pineapple Takeover at the Beatport HQ in LA, and are available to showcase their Transatlantic Threesome at a Quality Music Venue or Devious Fetish Spot near you.

Here we go! Ein echter 90er-Jahre-Kult-Hit ist zurück auf Vinyl! „Saturday Night“ von Whigfield, der legendäre Top-Hit aus dem Jahr 1994, ist endlich wieder als streng limitierte farbige 12“ Maxi Single erhältlich.
Mit seinem unverwechselbaren Dance-Sound, der eingängigen Melodie und dem legendären „Saturday Night“-Refrain eroberte Whigfield 1994 die internationalen Charts und wurde zu einem der großen Dance-Klassiker der 90er Jahre.

Jetzt gibt es den Hit endlich wieder auf hochwertigem, farbigem Vinyl – ein echtes Highlight für alle Fans der 90s, Dancefloor-Klassiker und Vinyl-Sammler.

Die Maxi Single enthält insgesamt 4 verschiedene Mixe und bietet damit gleich mehrere Versionen des unvergessenen Dancefloor-Hits.

MEKONS - OUT OF DESPERATION (LUXURY CHICKEN SONG): ,Ein Luxus-Huhn ist was ganz Besonderes und Einzigartiges und hat einen hohen Wert. Es gibt auch ein handbemaltes Mekons-T-Shirt mit einem Huhn drauf, das eine Zigarette raucht. Hagar the Womb sind auch ganz besonders und einzigartig und haben einen hohen Wert, und ich bin froh, dass sie sich an dem Abend im Hawley Arms nicht wirklich getrennt haben, obwohl sie unseren Rider geklaut haben." - JON LANGFORD (Gründungsmitglied von Mekons, Three Johns und Waco Brothers), 2025 // HAGAR THE WOMB - FARE DODGING WITH THE MEKON'S RIDER (3 BEERS & A LEMON): Geschrieben von Ruth Elias & Chris Knowles. Aufgenommen bei Church Road Recording Company, Hove, von Paul Pascoe 2025. Hags: Ruth, Karen, Paul, Lorna, Mitch, Chris. Coverdesign & Illustration von Lorna Tiefholz. Text von Ruth. Der Labelaufdruck zeigt Chris, wie er eines der drei Biere im Zug trinkt. Dieser Song entstand kurz nachdem das dritte Bier getrunken war. ,Fare Dodging with the Mekon's Rider" entstand, nachdem wir vor ein paar Jahren in Brighton unsere Lieblingsband The Mekons supportet hatten. Im Gegensatz zu den Hags hatten sie einen reichhaltigen Rider, darunter eine Obstschale mit einer prächtigen Zitrone. Als wir uns auf den Weg zum Zug zurück nach London machten, steckte Ruth heimlich drei Bier aus dem Rider der Mekons in ihre Tasche und konnte sich dann nicht von der Zitrone trennen! Von Gesetzlosigkeit erfüllt, sind wir aus dem Zug ausgestiegen, nachdem uns gesagt wurde, dass wir nicht einsteigen könnten, weil wir die falschen Fahrkarten hatten. Wir haben die Biere getrunken, bevor der Zug den Bahnhof verließ, aber, liebe Leser, die Zitrone wurde nie verzehrt. Ein trauriges Ende für die Zitrusfrucht, aber in diesem Song, der unsere Errungenschaften des Abends feiert, wird sie nie vergessen werden.

Silva Screen Records freut sich, die Veröffentlichung von „Beneath Painted Skies: Music from the Studio Ghibli Movies“ anzukündigen, einem neuen Album von London Music Works und Nick Squires, das die außergewöhnlichen musikalischen Welten einiger der beliebtesten Animationsfilme würdigt.

„Beneath Painted Skies“ erscheint im Oktober 2026 als physisches Album und ist eine symphonische Neuinterpretation von Titeln aus dem Studio Ghibli. Es vereint eine umfassende Sammlung von Themen und Musikstücken aus den Filmen des Studio Ghibli – von der windumtosten Wunderwelt von „Nausicaä aus dem Tal der Winde“ und dem fliegenden Abenteuer von „Das Schloss im Himmel“ über die zarte Nostalgie von „Nur gestern“ der emotionalen Erhabenheit von „Prinzessin Mononoke“ bis hin zur traumhaften Schönheit von „Chihiros Reise ins Zauberland“ und „Das wandelnde Schloss“.

Das Album ist eine Hommage an die bemerkenswerte emotionale Bandbreite dieser Musik: zarte, idyllische Melodien, hochfliegende Orchester-Themen, intime Charakterstücke und Momente stiller Besinnung. In der gesamten Sammlung verleihen London Music Works und Nick Squires diesen beliebten Werken eine reichhaltige, filmische Sensibilität und fangen dabei das Gefühl von Flug, Erinnerung, Kindheit, Verlust, Staunen und Magie ein, das diese Musik über Generationen hinweg nachklingen lässt.
Die Trackliste umfasst mehr als vier Jahrzehnte legendärer Animationsfilme, darunter Musik aus „Mein Nachbar Totoro“, „Kikis kleiner Lieferservice“, „Porco Rosso“, „Das Grab der Leuchtkäfer“, „Ponyo auf der Klippe am Meer“, „Der Wind steigt“, „Als Marnie da war“, „Die Legende der Prinzessin Kaguya“, „Auf dem Poppy-Hügel“ und „Der Junge und der Reiher“.

Mit Darbietungen von London Music Works und Nick Squires bietet „Beneath Painted Skies“ eine wunderschön gestaltete Reise durch eine der bezauberndsten Landschaften der Filmmusik.
























[x] d6. Ask Me Why [Mothers Message] (from "The Boy and the Heron")
[y] d7. Fine on the Outside [Vocal Version] (from "When Marnie Was There")