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XDCVR_ unveils 'I HATE THAT SHIT, I HATE ALL THAT SHIT' a blistering sonic manifesto on the 'performativity of decay'.

In a world saturated with digital perfection, the album emerges as a vital, hand-made act of electronic rebellion.

Framed as a "soundtrack for the end stretch" the record explores the notion that societal decay is not a passive process, but an active performance—a machine chugging along long after its wheels have fallen off.

This is cyborg music for a bifurcated reality: carbon-fiber toughness shielding a core of systemic rot. The sound palette is intentionally raw and imperfect, a direct challenge to the sterile, automated order of what the artist calls the "techno-fascist oligarchy."

Tracks eschew conventional temporality, mirroring the feeling of existing in two concurrent timelines—one hyper-aware of the collapse, the other numbly consuming it.

Drawing a line from the Cold War anxieties of the past to the data-farming dystopia of the present, 'I HATE THAT SHIT…' posits art as the last authentic incubator for societal change. It is, in the artist's words, "a deliberate 'fuck you' to the oppressive order of the status quo. This is not easy listening; it is a contested space, a lit fuse, and a necessary noise for our complicated times."

On 27 March, fabric Originals presents Shō, a five track EP of introspective, transcendent electronics from Japanese techno icon DJ Nobu. Inspired by the Buddhist Brahmavihāras - joy, compassion, loving-kindness and equanimity - Shō unfolds as a meditative, emotional journey rooted in Nobu’s experiences of Tokyo, mindfulness and inner clarity. From kinetic renewal to serene minimalism, the EP channels presence, acceptance and the simple truth that breathing itself is living.

Each track on ‘Shō’ marks a step in an emotional and spiritual journey, channelling the foundational virtues of the Brahmavihāras, which are the four ‘Sublime States’ of Buddhist practice: ‘Muditā’ (joy), ‘Karuṇā’ (compassion), ‘Mettā’ (loving-kindness), and ‘Upekkhā’ (equanimity). Together these principles form a path towards an open, boundless heart, which is mirrored in the EP’s unfolding sonic narrative.

“In recent years I became overly sensitive to my surroundings and society, finding myself strongly affected by every daily occurrence. It was during this time that I discovered meditation. And beyond that lay Buddhism. Through this, my sensibilities became able to express themselves more naturally. I decided to portray my feelings, and the scenery in Tokyo, conveying what I was experiencing in real-time, as music.

The EP title ‘Shō’ denotes views, thoughts, and actions aligned with Buddhist truth, and encapsulates my striving for presence, clarity, and acceptance. It also represents the conscious, mindful understanding that simply breathing is living.” DJ Nobu

Matt Gold and Dustin Laurenzi present Devotional Fade, a collaborative record of electroacoustic rhythmic improvisations – equal parts meditation and dance, released on We Jazz Records, 24th April. Laurenzi and Gold, key collaborators in the Chicago creative scene and with genre spanning artists such as Bill Callahan and Makaya McCraven, step forward here with a major artistic statement, a product of extended improv sessions capturing the duo's hypnotic interplay. This is the sound of two of Chicago's most vibrant instrumental voices listening deeply, communing in sound.

Recorded in Laurenzi's attic studio, Devotional Fade emerged from a series of weekly sessions over the course of a single month. The duo kept the tape rolling continuously each day and selected a number of immersive sonic worlds to present, oscillating between patient, sacred minimalism and wild, dancefloor-worthy combustion.

The pair set two parameters to heighten the sessions' stakes: editing would be kept to a minimum, and a rule of "no pitched overdubs" was put in place – ensuring that all melodic and harmonic gestures would have to be committed in real time. Laurenzi and Gold held true, only sparingly adding a stray shaker or brush to these already largely complete improvisations. Devotional Fade is imbued with quiet propulsion and ecstatic repetition.

Matt Gold is a guitarist, multi-instrumentalist, songwriter, and producer based in Chicago, IL. His work pulls from diverse traditions of electric and acoustic music. Matt has performed across six continents and contributed to over fifty recordings as a collaborator and instrumentalist, garnering critical praise from Pitchfork for playing "one of the most exhilarating guitar solos of recent memory, in any genre." Gold has several long-running collaborative bands spanning jazz, folk, experimental, and chamber music including Sun Speak, Storm Jameson, and Tin. He performs and records with an array of creative artists including Makaya McCraven, Marquis Hill, Jamila Woods, Natalie Merchant, and Greg Ward. Gold co-curates the record label and concert series Flood Music.

Chicago saxophonist/multi-instrumentalist Dustin Laurenzi has developed a personal approach to improvisation and composition that has garnered the attention of the city's creative music community. Laurenzi's music is inspired and informed by jazz, folk, and improvised music. His inventive improvisational sensibilities have made him a sought-after musician in many circles of Chicago's vibrant music scene and beyond. Laurenzi has toured extensively with songwriter Bill Callahan and is featured on Callahan's 2024 release Resuscitate! He has toured with Grammy award-winning artist Bon Iver and appears on the band's critically lauded 2016 release 22, A Million. Laurenzi has also performed with Jeff Parker & The New Breed, Marquis Hill, Makaya McCraven, Matt Ulery, Japanese Breakfast, and This Is The Kit.

Logistics makes a highly anticipated return after a three-year hiatus, with a whopping 24-track album.

Released across four 12 inch records, housed in spined sleeves, and presented in a premium two-piece lift-off box with scratch resistant matt laminate, matt varnish, and with fully printed packaging throughout. It is a beautiful presentation of this new LP from a Hospital Records legend.

Dropping almost out of the blue, the current reception from fans, artists & industry heads off the back of the 'ambush' announcement has been incredible. The album campaign is illusive, but rewarding to fans who have been waiting so long for brand new music from Logistics, they've now got 24 brand new tracks to get stuck into!

Inspiriert von Vorbildern wie Earth, Wind & Fire, The Bar-Kays und Kool & the Gang erwarb sich die 1975 in Mississippi gegründete Formation Freedom im gesamten Süden einen Ruf als kraftvolle Live-Funk-Band. Die Debütsingle "Can't You See/Sunshine" (1977) klang unglaublich souverän, ausgefeilt, pulsierend und voller Potenzial. "Can't You See" mit seinem modernen Soul-Boogie-Sound und "Sunshine" mit knackigen Bläsern, treibenden Rhythmus und ausgelassener Energie. Tolle Reissue auf Miles Away mit türkisgrünen Labels und originalgetreuem Fotocover.

LIMITED TO 350 COPIES! 2 x 12" Gold Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.

Soul Quest Records proudly presents SQR021 – Healing EP, the first release of 2026 from label co-founder and London deep house torchbearer Max Sinàl.



More than just a collection of club-ready cuts, Healing EP is a deeply personal body of work. The project is built around a narrative of Max’s mental health journey, with each track representing a different chapter in his life, moments where his mental wellbeing was tested, reshaped, and ultimately strengthened.

The programm with a personality, It will get on all your discs.
It will infiltrate your brains.

Yes it's (malware) bizzarre!

It will stick to you like glue and it will modify reality, to send in the bizzarre.

Vita Noctis is a curious Belgian formation that, in a more experimental vein, recorded two cassette tapes featuring a dark and distorted sound blending industrial with minimal, darkwave, and synthpop. Active during the 1980s, they remained inactive for many years until Dark Entries Records revived their work in 2011, releasing recordings created between 1984 and 1986. This encouraged Kris and Martine, the current members of the band, to continue the legacy of Vita Noctis by creating new music.

This EP is a selection of tracks created by Vita Noctis from the 2000s onwards. It includes songs that have never been released before, such as “Betrail,” an extended version of the song “Engaged,” along with other tracks that will appear on vinyl for the first time, marking the first release of Casual Strippers Rubicon Records. Also the EP comes with an insert featuring an image of Vita Noctis printed on yellow paper.

Hope you enjoy!

HLZ delivers his debut album for Metalheadz with 'All My Life', a project shaped by patience, experience and a deep rooted connection to the label's sound. The album began with the title track, first played during Goldie's residency at XOYO before eventually making its way to the label, and it was from that moment that the idea of a full-length record started to take shape. Around the same time HLZ moved back to Italy, embracing a slower pace of life that gave him the space and focus to bring the project together. Rather than following a fixed concept, 'All My Life' grew naturally in the studio. HLZ approached the process with what he calls a sense of humble confidence, trusting his instincts while staying grounded in the culture that shaped him. The aim was simple: to make music that could last beyond the short cycles that often define modern releases. Across the album, HLZ moves between soulful depth with a classic Metalheadz twang, into moments that push beyond his usual territory. From the title track's unmistakable Headz spirit to more exploratory pieces like 'Roadblock' and the introspective 'Solitary', 'All My Life' captures an artist fully settled in his voice. More than anything, the album reflects HLZ's deep connection to the music and the sound that has influenced him from the very beginning.

"Know Your Toms", it struck us that we have in our collections a number of amazing releases from artists writing deep and underground house music all going by the name Tom. The mission - to collect a track from each of them and make the kind of release which finds its way into only the best record collections. Tom Lown records as Lucky Sun and runs his own label of the same name. His track "Tomcat" is deep, pad drenched house for when the sun is out and the dancefloor is heating up.

Tom Gilbert is a master at crafting melody-rich, future-facing electronic music that's as timeless as it is tuneful, atmospheric and pleasingly nostalgic as can be heard in his track "Tom & Roland". Tom Churchill is a Scottish-based electronic music DJ, producer, and label owner involved in the scene since the mid-90s, his track "Backwards Glance" is his trademark deep house at its finest.

Tom (Shur-i-kan) Szirtes needs no introduction and has produced the kind of track which lights up the dance floor in a peak time house set, "Round Robin" is an instant classic. Between them they have been signed to the cream of the crop in underground house labels: Freerange, Headspace, We're Going Deep, Winding Road, Innate, Tronicsole, M>O>S, Nordic Trax, DiY Discs, Echocentric, Lost My Dog, 2Sox, Distant Worlds. The EP Comes on eco marbled vinyl, with "Know Your Toms" sticker and insert which is a guide to identifying the different types of Toms out there. A limited run of T-shirts available from Fourier Transforms Bandcamp

Italian producer Gledd has been quietly carving out a reputation for groove-led house music that balances raw dancefloor energy with rich musicality. Drawing on influences that span gospel, afrobeat, and classic deep house, his productions channel both heritage and forward-thinking club culture. My House Is Your Church marks his debut release on Delusions Of Grandeur - a fitting home for his expansive, souldrenched sound - and signals a bold new chapter in his evolution as an artist.

The EP opens with On His Way, a percussion-heavy deep roller built for maximum dancefloor impact. Anchored by fat, heavyweight production and a massive low-end presence, the track surges forward with relentless energy. An incredible gospel vocal cuts through the mix, elevating the groove into something transcendent - equal parts spiritual and physical. On It’s Not That Easy, Gledd leans further into his gospel house influences. Highimpact and rhythmically rich, the track weaves together organ fills and subtle tropical flourishes, creating a vibrant, sun-soaked energy while keeping the pressure firmly on the floor.

It’s a track that feels both uplifting and commanding. Flipping to the B-side, Habibi Gospel pushes into more “outernational” territory. A wild, expressive lead vocal takes center stage, riding atop a heavy, driving groove. Organ stabs punctuate the rhythm, locking dancers into a hypnotic flow that bridges cultures and styles with effortless confidence. Closing the EP, Can You Hear My Noise? brings things to a richly textured finale. Slightly more organic in feel, it blends echoing synth stabs, percussive melodic lines, and chopped vocals into a melting pot of sound. The result is a seamless fusion of gospel, afrobeat, and classic house - deep, emotive, and undeniably danceable. With My House Is Your Church, Gledd delivers a statement of intent: music as ritual, the dancefloor as sanctuary.

After a 12 month Break we are ready for our 17th Chapter….VINYL ONLY as usual

Fresh from the success of his debut solo LP ‘How To Kill A Butterfly’ out last year on High Focus Records, Farma G returns with the anticipated full-length follow up ’Nearly Nothing’s Enough’.

An album anchored in his notorious musical adventures as 1/2 of Task Force, Bury Crew and Mud Family, but very much informed by the state of 2026 Britain and beyond, Farma’s new body of work is fuelled by equal parts venom and deep introspection across 12-tracks courtesy of Brighton based producer Relense.

With one eye on following ‘How To Kill A Butterfly’ with something of equal standing, Farma revisited the fundamentals in the hope of better understanding what he really wants to say with the music he makes. By channelling feelings of familiarity and seeking out emotional connections to his past he created a record that feels both concise and expansive.

With the help of Relense’s gritty analog instrumentals, Farma found himself journeying across subjects and bandwidths; from exploring the mind of a conspiracy theorist on ‘X-Files’, to being a zen master with a mountain on his back on ‘Sun Wukong’, before returning to earth for a typical day in the life on ‘Mr Moany’, ‘Nearly Nothing’s Enough’ is an album that took Farma home and he is delighted to welcome you on the journey.

Nicolini is back with 'Quita Maldicion' - an album of hyper riddim tracks, mixing up Memphis-tinged beats, pitched vocal chops, blown-out bass, and fever dream Dembow. With guest appearances from Chimira, Sharp Shin, Cheba Tmax, and Toff Youth, 'Quita Maldicion' hits like the zaps of an alien rave defibrillator, reanimating your lifeless body for the dance. Remove the curse on this world!

A two-tracker rooted in movement and memory.

It’s Girls Night / Long Hair marks a confident next step for the Amsterdam-based, Dutch-Argentinian artist, pushing deeper into darker, more physical territory. Built from warped drum patterns, low-end pressure and distorted, inhuman textures, it leans fully into a percussion-led, club-focused sound.

It’s Girls Night is immediate - fast, raw, and unrelenting.
Long Hair pulls things into a heavier, more ritualistic space - broken rhythms, slower tension, deeper atmosphere.

Shaped by formative nights in places like De School, the EP reflects a direct connection to the dancefloor - where repetition, intensity and immersion take over.

A concise, impactful release and the first in a series with fabric Originals

Katerina is an old friend from the early trips to Helsinki, a Finnish Bulgarian queen of the dance, having commanded the wood floors of Kaiku since its inception. Her debut EP with the ESP Institute, 'Natural High' is something special if we may humbly brag. It is the electronic embodiment of our annual journey around the sun, with its release landing just in time for this year’s Summer solstice. Over 4 tracks, the narrative shifts are technically subtle but emotionally palpable, presenting moods that swing both warm and cold but maintain a delicate balance start to finish, a confidence that speaks of true experience and understanding the dynamics of dancefloor moods. Our typical verbose track-by-track dissection feels unnecessary as Katerina’s work here is most legible as a whole. 'Natural High' is a cozy and honest offering, a soft-edged cerebral antidote to the daily falsehoods perpetrated by mankind, and a reminder that in the end, we are all just children of Gaia. Run Free!

Loukeman is a Toronto-based producer, DJ, and songwriter. His music pulls from folk, pop, rap, and R&B, creating his own warped yet familiar forms. He’s earned support from the likes of a wide range of artists including Fred again.., Obongjayar, Aminé, Skin on Skin, Ecco2k, and more. He’s delivered official remixes for PinkPantheress, Vegyn, and Obongjayar, and he’s shared stages with some of the most exciting acts in the underground. Most recently, he's produced 5 tracks on ASAP Rocky's long awaited record, 'Don't Be Dumb.' Having garnered praise for his self-released Sd-1, Loukeman followed up with Sd-2, which established his cultural and critical presence.

Sd-2 — the second of a planned trilogy -- continued his display of range as one of the most exciting producers in recent years. Following the release, praise followed from the likes of Pitchfork, Resident Advisor, Mixmag, and numerous others. He launched a series of club nights titled BRXZN WXRLD in 2024, which sold out across London, Los Angeles, Toronto, and NYC. A recent guest mix on Rinse.fm provides a glimpse into his eclectic mix style and range of edits. His music has been used by a multitude of brands from Burberry, and Stussy to Nike and Apple. With a forthcoming album in 2026, he's also caught the attention of several pop acts as a producer and co-writer.

2 tracks
45 RPM

Compiled by Rey Colino.
Design by AJAM.

PSY PSY SIS 'Live Your Life' The Chicago / Detroit Mixes. The remixes are VINYL ONLY and honour the sound of the Cities that started it all.

Ceri and Cici's recent debut as PSY PSY SIS, is the excellent 'Live Your Life' EP...

Hailed by DJ Mag as 'Robust House Rhythms, and with early support from the likes of; Bradley Zero, Ricardo Villalobos, Saoirse, Bashkka, Grace Sands, Panooc, NIKS, KiNK, Jeniffer Loveless and more...

They are now also dropping not one but TWO VINYL ONLY REMIXES from OG Chicago and Detroit legends; Mark Grusane and Gari Romalis Electronix.

Mark comes in with a US and UK garage inspired house rocker that builds tension and is sure to light up any dancefloor. Gari Romalis comes in with a refined house blend with that old school magic Detroit feel.

A must for any House Head.

The fourth release on Philippa Pacho’s phorum imprint arrives courtesy of German producer Red Rooms.
Four driving, hypnotic Techno tools built for the floor with an uncompromising contemporary vision.

Label Boss TSVI is back with a brand new release on Nervous Horizon: Dance Tripping EP! Inspired by his early years in London, where he spent countless nights at minimal and tech house raves, the EP draws elements from these styles through stripped back productions and groove driven basslines. Moving away from TSVI’s signature percussion focused sound, the record prioritises a more sound design approach, exploring texture, movement and club functionality.
The EP opens with Music is Moving, a high energy festival weapon built around a groovy bassline and a UK garage leaning swing. A sharp, restless lead drives the track forward before exploding into a euphoric climax of phased and distorted sawtooth waves. Next comes The Wasp Track, combining pitched down leads with a rolling tech house groove, built for peak time tension and release. The title track Dance Tripping sees TSVI at his most stripped back, featuring loopy analog textures and hypnotic rhythmic elements that focus on repetition. The last two tracks Kataklisma and Turbo Motion create a literal sonic apocalypse by pounding the club with heavy reeses and mean beats.

TSVI Dance Tripping EP is the ultimate club weapon for 2026!

‘Pavilion 12”s Volume 1’ features four hard to find and sought after Balearic cuts from the Ibiza Balearic explosion of the late 1980s and early 1990s and is pressed on a limited ‘Aquamarine’ coloured vinyl pressing of 600 copies worldwide for Record Store Day 2026

ST. DAVID releases “Message of Love EP” on HARD TIMES Records, delivering a raw, club-focused statement built on driving grooves, emotive tension, and peak-time energy. Blending classic house sensibilities with a modern edge, the EP channels a unifying message through powerful rhythms and hypnotic flow. Pure dancefloor energy.

Little Beat More welcomes a new 7” from Conjunto Media Luna, a release that moves along the deep axis connecting Colombia and Mexico where cumbia mutates, and projects itself into new dimensions.
On the A-side, “Kumbia Tequendama” sees the group joined by rebajada pioneer Amantes del Futuro, a key figure in shaping the futuristic vision of cumbia across generations and geographies. Born between Mérida, Medellín, and the legendary Mambo Negro studios in Bogotá, the track reflects years of friendship and shared sonic research. Hypnotic accordion lines intertwine with dense low-end pressure, channeling an energy rooted in tradition but fully tuned to the present, built for dancefloors, sound systems, and the growing decentralized community of modern cumbia.
On the flip side, French producer La Dame reshapes “No es Moda”, originally featuring La Terrorista del Sabor, into a forward-leaning DnB and Future Bass reinterpretation. Faster, sharper, and more weightless, the remix opens a new perspective on the original while preserving its nocturnal spirit and emotional depth.
The artwork is signed by Bogotá’s own Mateo Rivano, whose unmistakable visual language has defined the aesthetic of some of the most visionary projects in contemporary cumbia.
Part of the wider sonic universe of Sociedad Internacional de la Kumbia, Conjunto Media Luna’s upcoming album, this 7” captures the group’s ongoing exploration of cumbia as a shared space, where distance disappears, traditions remain in motion, and new frequencies emerge from collective memory.


Made with Love by Little Beat More 2026
“We Dance We Think”

Adele has already left an undeniable mark in pop music. Now, the British songbird is receiving the electro-bossa treatment.

‘Tippex in My Eye’, Roman Flügel’s third single with Erol Alkan’s Phantasy Sound, nonetheless charts exciting new territory for the prolific German producer, finding him in collaboration with London-based vocalist and songwriter, PYTKO. Already established as a member of Phantasy’s creative family following her cultishly received 2022 debut LP ‘The Way We Blush’, PYTKO searching, surrealist lyrics and performance provide perfect synthesis for Flügel’s first ever vocal collaboration.

Somewhere between digital dub and avant garde shades of electro-pop, ‘Tippex in My Eye’ slowly works a strange and spacious magic, meditating on bassweight while moving ever-forward with sparse piano and distinctly Flugelesque synthesis. Throughout, PYTKO’s enigmatic vocals intertwine with this ambitious arrangement, acting as an incantation for a brief but refreshingly strange journey.

Each of these elements are repurposed with hypnotic, psychedelic impact on an alternate ‘Dance Mix’. Immediately tapping into Flügel’s well-established nous for turning minimalism into euphoria, PYTKO herself becomes a guiding force for the dancefloor, as the track builds thrillingly toward a cosmic breakdown and dramatic release.

Roman Flügel’s ‘Tippex in My Eye (ft. PYTKO)’ will be released on Phantasy on May 15th 2026, available on limited-edition vinyl and streaming.

All Day I Dream offers a soft and serene close to a snowy season with A Winter Sampler VII, a 12-track compilation out now. Continuing the label’s tradition of seasonal collections, the latest installment gathers a global cast of artists whose productions capture the reflective calm and subtle warmth that arrives as winter begins to thaw.

William Onyeabor was born outside Enugu, a small, rural town in Eastern Nigeria, he created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.

Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And, though he is still alive, he refuses to speak about anything regarding the past.

According to various rumors, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.

A cult classic reborn for a new generation.

Originally released in 2002 on the short‑lived US imprint Square Room Records, the In Stereo EP by Aruba (Darran Nugent) has long been a prized gem for vinyl collectors of quality underground house and techno.

Now, two decades later, Darran brings In Stereo back to life on his new Sleight of Hand label, with ‘Soundz From My Stereo’ completely re‑recorded and sounding hotter than ever. This special edition also features a brand‑new Re‑edit plus a standout remix from UK DJ and producer Man Power (Geoffrey Kirkwood), who delivers a bold, imaginative re‑interpretation that elevates the release into something truly special.

Also returning is ‘Body Groove’, freshly reimagined for today’s floors. The original’s slap‑bass funk remains gloriously intact, now paired with a more modern, refined house sensibility that gives the track a whole new swagger.

• “Guerrilla Girls!”, Ace Records’ much-anticipated first release of 2023, takes us on a thrilling ride from punk’s mid-70s origins, via the left-field post-punk groups, jangly female combos, grunge bands and vigilante Riot Grrrls of the 80s and 90s, to the she-punk bands of recent years – a five-decade alternative to the macho hegemony of rock.

• The collection highlights songs that emerged out of a dynamic underculture of female creative expression. What unites the featured artists is a healthy disregard for the way the music industry ties up its female performers into pretty, neo-liberal packages. From Patti Smith, universal mother of the punk movement, to the Bags, Bikini Kill and Skinny Girl Diet, this music is anti-A&R. Including lesser-known names such as San Francisco street punk Mary Monday and London-based experimentalists pragVec, it shows that, rather than being a few novelty bands existing on the margins, these performers represent a stronger, more three-dimensional version of the female experience.

• Glorious resistance was on display in the first wave of UK female-fronted punk bands. Poly Styrene’s charged vocals on X-Ray Spex’s ‘Iama Poseur’, for instance, were a deliberate refusal to be a pretty punkette. With 15 year-old Lora Logic on saxophone, X-Ray Spex epitomised a fearless, self-defined agency that was at odds with the pastel shades and flowery, submissive Laura Ashley version of 1970s girlhood. By the early 80s, there was a hugely vibrant scene propelled by the diverse rhythms and voices of post-punk feminism. Lora Logic had left X-Ray Spex to form the interweaving textures of Essential Logic, the Mo-dettes mangled ska and off-kilter pop, and Birmingham band Au Pairs sliced political rigour into their lyrics and funky guitar work.

• Some female artists took that elemental energy into pop, creating pop-punk with a twist. We’ve Got A Fuzzbox And We’re Gonna Use It!! made a statement on music technology and female power with a cheeky play on words. Their song ‘Rules And Regulations’ shows that what Guerrilla Girls do well is debunking – taking genres of popular song and turning them inside out – like the way the Pandoras and the Pussywillows would amp up the driving beat and high vocals of the 60s girl group style, and subvert it with a DIY garage element.

• In its fanzine culture, use of montage and DIY music, 90s Riot Grrrl bands such as Bikini Kill and Bratmobile drew direct inspiration from 70s punk, articulated through the prism of Third Wave feminism. Too often, Riot Grrrl gigs were invaded by men intent on heckling “the enemy”. Liz Naylor, manager of British Riot Grrrl band Huggy Bear, says that their concerts became war zones. From the US grunge and Riot Grrrl scenes emerged more female instrumentalists, with bands such as L7 and Babes In Toyland proving that it was possible to recruit cutting-edge drummers, bass players and guitarists. Lori Barbero, whose relentless power drumming is a major element of Babes In Toyland, took the one instrument that has been a staple of male rock’n’roll and made it her muse.

• In the 2000s a new generation of girl-punk bands drew on the Riot Grrrl underculture to form their own sound. London trio the Tuts refashioned C86, Riot Grrrl and lush dream pop on songs like the ironically titled ‘Let Go Of The Past’, while the Regrettes injected shots of ska and doo wop into their explosive West Coast pop-punk. What began with Patti Smith and 70s punk has grown into a vast, spikey infrastructure of girl music. Many take inspiration from their foremothers, like Skinny Girl Diet whose vigilante feminism and punk distortion has been championed in return by Viv Albertine of the Slits. As long as these female artists stay aware of their musical vision and what they are trying to express – in a sense, A&R themselves – the underculture will continue to grow and flower. And this “Guerrilla Girls!” compilation is a celebration of that power.


• The back sleeve of the release features a scene-setting introductory essay by Lucy O’Brien (author of She Bop: The Definitive History Of Women In Popular Music). Each of the two discs come in a swanky inner bag containing a track commentary by compiler Mick Patrick (Ace Records’ long-serving champion of female artists of all persuasions) and exclusive interviews with many of the featured artists by Vim Renault and Lene Cortina (founders of the Punk Girl Diaries webzine).

In 1978, Muddy Waters released one of his most essential works towards the end of his career.

Titled I'm Ready, the album was produced by Johnny Winter and followed Hard Again, their first collaboration.

It was immediately hailed as a blues classic.

The collaboration between Winters and Waters resulted in three albums, which blues fans describe as a unique combination
that showcased Muddy Waters' rawness and years of experience to perfection. The impressive roster of featured artists included
“Pine Top” Perkins on piano and Walter Horton on the harmonica, making it a dream late-career collaboration.

I’m Ready won the Grammy Award for Best Ethnic or Traditional Folk Recording.

I’m Ready is available as a limited edition of 1500 individually numbered copies on pink coloured vinyl.

Following the launch of FABRICLIVE’s new chapter with his inaugural artist release ‘Model Collapse’, Sully returns with a heavyweight remix package led by Basic Rhythm, alongside a brand-new track, ‘Proof’.

Originally the first release on the revived FABRICLIVE label, ‘Model Collapse’ set the tone for its forward-facing vision. Here, Basic Rhythm reworks the track into a stripped-back, bassbin-driven weapon - a dubplate turned anthem already making serious impact on the dancefloor.

On the flip, Sully delivers new track ‘Proof’, inspired by conversations with Basic Rhythm around his approach to drums.

Closing the EP is the original ‘Model Collapse’, the club hit that launched the label’s new era and continues to resonate.

Conrad Subs continues his run of releases on Metalheadz, this time landing on Metalheadz Platinum for the first time with the 'Cylinder EP'. The Ipswich-based producer has built a reputation through a slew of releases rooted in drum and bass tradition, paired with a sharp, modern edge. His sound draws on the core elements of the genre while maintaining a consistency that now sees him land on Metalheadz vinyl for the first time, with four tracks built to do the heavy lifting.

Techno is the game. Realm United is the team. Powerful, direct, uncompromising club vibes.
K S R "collective works".

Techno is the game. Realm United is the team. Powerful, direct, uncompromising club vibes.
K S R "collective works".

We have released two Darrow Fletcher CD on Kent but he has never had a vinyl LP of his own - of any description.

This compilation concentrates on his Chicago years, though it adds a rare demo, ‘Hope For Love’, only previously available on a “Masterpieces” Kent CD. Also, we have included his one-off late-70s version of fellow Chicago-born writers Grey & Hanks’ ‘No Limit’, also originally a “Masterpieces” track and a now-deleted Kent Select 45; these fetch £100+ on some sales lists.

The mid-60s sides speak for themselves. He began his career with the acclaimed soul blast of ‘The Pain Gets A Little Deeper’ (an Elton John favourite of the time!) and followed up with dancefloor classics ‘My Young Misery’, ‘What Good Am I Without You’, ‘Infatuation’ and ‘Gotta Draw The Line’.

As was common in those days, the hip dance sides were coupled with tender ballads such as ‘Sitting There That Night’, ‘Little Girl’ and ‘My Judgement Day’. Those were particularly well received in his Chicago homebase and have been admired by slow-groove scenes like Lowriders in Los Angeles ever since.

Darrow’s late 60s recordings, though recorded in Chicago, were issued on Los Angeles labels controlled by Universal. By 1971 his producer - stepfather Johnnie Haygood - had reverted to using his own Chicago imprint Genna for the last recording.

Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Constructive is pleased to announce, 'Utopia or Oblivion', a new compilation featuring ten artists inspired by the pioneering work of R. Buckminster Fuller, with each track inspired and in response to Fuller's work specifically Utopia or Oblivion', first published in 1963.

From the irregular glitch pop scintillation of 'How Would I Be? What Would I Do' by German artist & founding member of To Rococo Rot, Robert Lippok, to the heartfelt ambient and seraphic voices of 'Afterimage' by Japanese artist Tujiko Noriko (Editions Mego, PAN, Room40), through to the tensile, eruptive, dub-contoured emittances of 'Tensegrity Rhythms' by Peruvian experimental composer Ale Hop (Karlrecords).

Elsewhere, there are appearances from the Bafta-nominated composer Adam Janota Bjowski (Saint Maud OST), musician & Constructive co-founder Adrian Corker, London-based experimentalist No Home, Italian artist & NTS Radio resident Silvia Kastel (Blackest Ever Black, Palto Flats, Youth), British sound artist David Prior, and a unique collaboration between the British DIY experimental musician Richard Skelton & Corey Fuller, a descendant of R. Buckminster Fuller.

Regarded by many as the greatest funk album of all time, ‘One Nation Under A Groove’ was recorded at United Sound in Detroit & included a live track from their concert appearance at the Monroe Civic Center in Louisiana in April 1978. The band’s tenth studio album released during September 1978 was also their most commercial & gave the band their first platinum disc. The iconic title track was an international hit and a US R&B No.1. With lead guitarists Michael Hampton & Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell & Walter “Junie” Morrison’s keyboard wizardry & many more, the album was produced by the genius of George Clinton. Regularly ranked at or near the top of various “best album” lists, ‘One Nation Under A Groove’ is mastered for vinyl in a deluxe facsimile gatefold sleeve with booklet & lyric inner sleeves, all housed in a protective PVC sleeve. The albums’ original bonus songs are now included on a second 12-inch “Special EP” which adds the rare 11-minute “Disco Mix” of ‘One Nation Under A Groove’ to replicate the original first UK pressing from 1978. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

An absolute, hard-charging funk hammer from the Dap-Kings - an incredible instrumental co-written and co-produced by Dapper Bosco Mann and Kenny Dope! If "Nervous Like Me" has a title that reflects some kind of apprehension, the track is anything but! It's simply pummeling - with a rhythm that kicks out from some stealth bongo and rolling trap that build into some playful guitar and bass response until the horns crash and boom! The beats on the flip isolate the funky drums, providing a sizzling beat track.

The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop’s smoothest figures.

Tucked in the heart of Koreatown, Los Angeles, lies The Libra Hotel—the titular architecture of Nick Malkin's new album and site of his musical and psychogeographic exploration. Unlike most musical "site-specific" studies, Malkin remains wholly ambivalent to the documentarian approach, instead sharpening an auteur-like focus on the site as a conceptual and highly expressive backdrop. The Libra is musically explored as a space that houses a noir fragmentation of identity—the exhausted trope of a complicated protagonist walking through rain-soaked street corners and fumy neon lights—where an inner monologue is rendered in both miniature and at a cosmic scale. Casting aside stifling tropes around field recording, ambient, and improvised music, Malkin's work finds its own unique fidelity and emotional core through the assembly and reassembly of memory. Nearly every sound on the album—from frayed saxophones, lambent pianos, and dissected jazz drum kits—are multiplied, shattered, and reconstituted into shapes that adorn The Libra in a motion-blurred fog. The narrative of the Hotel suddenly appears as if out of the mist, with intersecting characters interacting within its walls by happenstance. Adminst the languid set pieces, wraith-like sonic grains gravitate around wide subbass beams that give structural form to The Libra, a narrative tension like when a scene is shot from hundreds of different perspectives: an image both luminous and veiled.

Much like Frank Sinatra's own spatial residency immortalized on "Live at The Sands," "At The Libra Hotel" showcases an exuberant view of entertainment, hospitality, and a form of masculinity, one that can quickly detourn into darkness. Knowing this, Malkin extracts a melancholic core out of The Libra locale. The flickering shadows of American decadence are shown in their ephemeral honesty, lines that trace how even in everyday life virtue is tested, sanity is tested, even reality is tested within the confines of desire, within the night. The album is draped in fleeting textures, carefully arranged with a trance-like microtonality, the faint inflections and articulations of a jazz band cascading into dissipated stillness. Voicemails about changed locations and covert eavesdropping on guests' whispered conversations provide an atmosphere of missed connection and voyeurism—a purloined letter of desire receding into a vanishing point. Like the music itself, The Hotel, a chapel perilous at the intersection of desolation row, the center of it all, yet simultaneously at the edge of town, becomes a structure between libidinous virtuality and actuality—our inevitable half-light.

Ultimately, the pensive atmosphere of "At The Libra Hotel," powerfully asserts a plea for the kinds of intimacy only possible in transient spaces. Here, memory cascades into a force that feels like something supernatural, perhaps even religious, yet always subject to the infidelity of our imagination. Here, the album opens into its primary psychodrama, the transient nature of subjectivity itself and how this becomes fractured in the tumult between our commitments and desires. Within this nocturnal space, to quote Louise Bourgeois, "you pile up associations the way you pile up bricks. Memory itself is a form of architecture."

Craig Clouse has devoted the past several decades to exploring a wide range of avant-garde avenues for his brainchild Shit & Shine. The monolithic riffs of raw and powerful psych'n'roll hysteria, the freeform dance miasma, sub-heavy electronica and the blissful stupidity crafted for ecstatic ascension: all perfectly-placed in the idiosyncratic world of Shit & Shine. There's also fertile soil for twisted noises in their lowest form, often obscured by groovier comrades in S&S releases yet vitally important for the substance of Clouse's compositional carcass and OOH-sounds has given him the required space to stretch out his longtime interest in developing loose structures and crackling landscapes to transcend his rhythmic comfort zone.

Making an enthusiastic transgression into noisy tones, "Joy Of Joys" has a friendly way of presenting difficult material. The rough and ready cheapo electronics sparkle in full electrifying mode, welding an ascetic gamut of aural hypnotics with a wormhole of uncompromising loop brut. Clanks, bangs, twangs and creeping, ragged globs of sound bloom on the bones of repetition to focus on the swinging stream of dirty anarchy. Stepping out of any context and genre disciplines, S&S finds new sonic trajectories in "Joy Of Joys" which perfectly sit in-between a wobbly cabal of international sub-underground acts: the idiot-avant strategies of LAFMS, early Mego bad digitalia, no-brow enthusiasm of Wolf Eyes family, micro-DIY ethos of Chocolate Monk and the sheer hellish nonsense of US noise circa '00s.

Clouse was already established as a landscape painter with a series of faux naïf paintings charmingly accompanying his releases. With his heart full of passion for abstract minimalism, he continued these narrative forms but was always in search of the confidence to paint non-figurative art. The first step into the chaotic abyss is coming from his sonic side by abandoning the beat and riff layers of his previous works to complete nakedness and reductionist courage. At once Clouse makes an evolutionary lurch into extremes as well as taking us back to basic forms in "Joy Of Joys". He creates an entire new parallel world to Shit & Shine with his maverick imagination presenting us with one of the most mutant releases to bear his name. Arthur Kuzmin

Du ciment sous les plaines”, Noir Désir's third album originally released in 1991, reissued on vinyl in the original PVC sleeve.

STAR TREK: STRANGE NEW WORLDS is based on the years Captain Christopher Pike manned the helm of the U.S.S. Enterprise. The series will feature fan favorites from season two of STAR TREK: DISCOVERY: Anson Mount as Captain Christopher Pike, Rebecca Romijn as Number One and Ethan Peck as Science Officer Spock, and follows Captain Pike, Science Officer Spock and Number One in the years before Captain Kirk boarded the U.S.S. Enterprise, as they explore new worlds around the galaxy. Drivers: * Focus track scored written, produced and conducted by Emmy Award winner, and 3 time nominee, Jeff Russo (The Man Who Fell To Earth, Legion, Fargo, Oslo, The Night Of, Umbrella Academy, Altered Carbon, Star Trek: Discovery, Short Treks, Strange & New Worlds, Picard series, Love & Death) * Jeff is a founder, lead guitarist and songwriter of 2x Grammy Award nominated, multi platinum rock band, Tonic. * Russo's main theme is a modern adaptation of Alexander Courage's original Star Trek theme, and includes a theremin as a way to foreshadow Courage's vocal arrangement of the theme. * Tracks taken for Season 2, episode 9, titled, Subspace Rhapsody

"Neulust," the latest EP from Neuzeitliche Bodenbeläge, introduces listeners to the talents of Joshua Gottmanns and Niklas Wandt. Wandt's captivating voice invokes a sense of nostalgia, reminiscent of the era when Thorsten Fenslau was active, infusing tracks with poetic recitations. Wandt's drumming harmonizes perfectly with Gottmanns' warm chords and captivating melodies. Together, they debuted on Zurich's Lustpoderosa label with "Neulust," aiming to redefine their musical connection. Their presence in the central European underground scene has been marked by releases on Themes for Great Cities or Bureau B, accompanied by their vintage German Wave sound and lively performances. Regular touring has been part of their journey. "Neulust," recorded with minimal intervention, delves into themes of love, estrangement, and consumerism, blending haunting electro, deep house, NDW, and Euro Dance Elements. The EP signifies a significant stylistic shift and stands as the band's most compelling offering yet in their ongoing musical evolution.

Recorded in 1973, these two gems were originally album tracks on Marvin’s “You’re The Man” LP. Now these two and only gems curated by the Mizell Brothers are back to back for the first time on a 7” single. While on Expansion, the label art pays homage to Tamla. Marvin was never on Motown. There is a later, alternative remix of “Where Are We Going”, but this 7” is the 1973 original.

nobile, one half of the former Milanese duo Voronoi, presents a new series of recordings of ephemeral ambient soundscapes, organic throbs and broken rhythmic textures that sublimate the more instinctual and playful side of his poetics.


The project is haunted by cavernous sounds and an obsession with the 'netherworld' of the videogame Minecraft, and by Le Matin des Magiciens - the classic and revolutionary book that popularised occultism, alchemy and paranormal phenomena in the 1960s. "...FANTASTICO INTERIORE is" - as the artist puts it - "a fantastic journey inside the body, perhaps also a journey into the unconscious to understand my gastritis?"

The seven tracks traverse underworlds, infused with fantastic realism, where odd sounds materialise like poltergeists of digital folklore. Creepy voices emerge from the hell-like nether, intertwined with clusters of gelatinous percussive sounds that trudge to the surface. Earthy streams of crackling white noise carry volatile sonic particles that bounce off walls with short delays and reverberations, giving an almost visible form to the space.




But it is not always serious. As soon as you come across the curiously long titles of the tracks (which are rough translations of the Minecraft manual into Italian) a subtle irony emerges. The imagery appears to be harmless and eventually, as in a video game, you can switch to safe-mode and refill your health-bar along the way... 
No panic attacks in the soft-occultism of FANTASTICO INTERIORE ;)

KRK Rap Atak 2.0 is a limited-edition compilation that unites Kraków's old and new school hip-hop talent. Mastered by DJ Eprom and featuring artwork by Maciej Wroblewski, this album showcases the city's vibrant rap culture. Each vinyl copy is hand-numbered, making it a true collector's item. With exceptional production and a unique artistic identity, KRK Rap Atak 2.0 celebrates the evolution of Kraków’s hip-hop scene.

"SABLE, fABLE" ist das fünfte Album des Projekts von Justin Vernon und enthält eine Liebesgeschichte, die mit üppiger, strahlender Popmusik unterlegt ist. Während das Album mit der verletzlichen Entlastung der im vorangegangenen Herbst erschienenen "SABLE," EP beginnt, geht das Triptychon nahtlos in eine neue, neunsongige Saga über, in der aus einer Person zwei werden, Dunkelheit sich in lachsfarbene Schönheit verwandelt und Traurigkeit in unbändige Freude umschlägt. Während SABLE eine karge und einsame Abrechnung mit einem Schmerz ist, der lange die Vergangenheit bestimmte, blickt fABLE in eine lebendige Zukunft voller Licht, Sinn und Möglichkeiten. "SABLE, fABLE" wurde von Justin Vernon und Jim-E Stack produziert und hauptsächlich in Vernons April Base in Wisconsin aufgenommen, nachdem das Studio während einer Renovierung jahrelang still lag. Das Konzept für das Album entstand am 22.2.22, als Stack mit Danielle Haim dort eintraf. Mehrere Tage lang eingeschneit, vereinten sich Vernons und Haims Stimmen auf "If Only I Could Wait", einem Duett mit entscheidender Perspektive, in dem es darum geht, dass man nicht die Kraft hat, die beste Version von sich selbst außerhalb des Glühens einer neuen Liebe zu sein. Wenn SABLE der Prolog war, ein Prolog in der Dunkelheit, eine kontrollierte Verbrennung, die den Weg für neue Möglichkeiten ebnet, dann ist fABLE das Buch, das folgt. Wo SABLE, ein Werk der Einsamkeit war, ist fABLE eine ausgestreckte Hand. Strahlende, verschnörkelte Popmusik umspielt Vernons Stimme, während er sich auf eine neue und schöne Ära konzentriert. Bei jedem Lied sind seine Augen auf eine bestimmte Person gerichtet. Es ist Liebe, was bedeutet, dass in fABLE eine intensive Klarheit, Konzentration und Ehrlichkeit herrscht. Es ist das Porträt eines Mannes, der von dieser ersten Begegnung überflutet und überwältigt ist ("Everything Is Peaceful Love"). Es ist ein Tableau, das von Sex und unbändigem Verlangen geprägt ist ("Walk Home"). Ein Mann, voller Licht und Tatendrang, der eine ganze Zukunft vor sich sieht. Verliebtheit hat etwas unbestreitbar Heilendes an sich, und die intensive Klarheit, Konzentration, Ehrlichkeit und Feierlichkeit, die sie in diese Songs bringt. Doch der Schatten von SABLE liegt noch immer in der Luft, und alte Gefühle können zurückkehren, selbst wenn man sich die Mühe gemacht hat, neu anzufangen. Wie in einer Fabel vermittelt jeder Track eine Lektion, und in fABLE geht es um den selbstlosen Rhythmus, der erforderlich ist, wenn man mit einer anderen Person verstrickt ist. Der vorletzte Song - und im weiteren Sinne das ganze Album - ist ein Versprechen. Er ist bereit, diesen Rhythmus zu finden.

* Edition of 500 colored vinyl (transparent purple)
* Artwork developed in collaboration with Paris-based visual artist Caroline Ventura
* Including download code

i got a song, it’s gonna make us millions is the highly anticipated new album by Sirens Of Lesbos, led by sisters Jasmina and Nabyla Serag. The dynamic release is a vibrant showcase of the group's expansive musical range, blending R’n’B/Soul, Afrobeats, electronic music, and lo-fi indie pop into a rich, genre-defying experience. With its eclectic sound and captivating melodies, the album solidifies Sirens Of Lesbos as a standout force in modern music.

Featuring on the album are the singles “Room 333” feat. Kendrick-Lamar-collaborator Zacari, a futuristic R’n’B song with progressive club beats; the epic “Call Me Back” (feat. Drake-co-signed rapper SadBoi and the Kabusa Oriental Choir); and dub-infused reggae song “Let It Hurt”, plus new song “My Moon”, which draws inspiration from artists like Bruce Hornsby, Justin Vernon, and Jai Paul. Sirens Of Lesbos have earned widespread acclaim from outlets like CLASH, COLORS, Dork, Tsugi and Earmilk, with BBC 1Xtra’s CassKidd calling the collective “magical.”

As Black women living in the diaspora, Jasmina and Nabyla navigate the intersection of their parents’ collectivist North-East African culture and the Western emphasis on individuality. Questions of identity have always been central to their journey. While society often demands clear-cut definitions, the sisters have come to embrace their multifaceted identities: “We have always been many things.”

Both artists are deeply rooted in the technical and philosophical dimensions of sound. Jasmina recently completed her Sound Arts degree, and Nabyla is now finishing hers. Their academic pursuits have included creating abstract sound installations in exhibition spaces. However, their focus for the foreseeable future is on elevating the Sirens Of Lesbos project, writing and producing standout indie pop tracks, performing live, and delivering unforgettable experiences for their audiences.

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The vinyl version of i got a song, it’s gonna make us millions is published by Präsens Editionen, a Switzerland-based publishing house and music label. Founded in 2011 in the process of launching zweikommasieben Magazin, Präsens Editionen has since released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Recent audio releases include works by Martina Lussi, spalarnia, Magda Drozd, Anom Vitruv, Belia Winnewisser, and Red On, among others.

Dub-Stuy continues its one-riddim series with Punchliner riddim, an original production crafted by DJ Madd, returning on beatmaking duty since his 2021 relick of the classic Answer Riddim. Driven by syncopated rhythms and a rolling bassline, this new addition to the series provides the perfect backdrop for three standout cuts from an international cast of vocalists.

The late Nazamba offers "Thief," a powerful social commentary in the tradition of dub poets like Linton Kwesi Johnson. UK-based Ras Demo showcases his versatility with "Lyrical Designer," while Spanish vocalist Lasai unleashes rub-a-dub energy on "The Punchliner." An instrumental version is also included.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

But rest assured - it's still the same excellent band from Ruda ?l?ska, only this time instead of a forest full of ghosts or a land of fairy tale creatures like a Fruwajacy Przestepca the duo of producers takes us on an interstellar journey!

The artists' third album, just titled KOSMOBOTANIKA, is an over forty-minute work skillfully composed from a multitude of various samples, and genre-wise presenting the sounds of deep house, trip-hop, breakbeat, ambient and even jazz. This is electronic music with a very cinematic, visual and imaginative character, something at which ETNOBOTANIKA has undoubtedly achieved mastery confirmed by their first two very well-received albums. This cinematic style (electronic concept album?) is reminiscent of the classic albums of the genre's progenitors from the UK like The Orb (first releases) or The KLF (the iconic "Chillout" album), but also the French Motorbass.

The Silesian duo does it their own way, of course, with a local twist. Thus, in the cosmic journey our guides will be in-sampled familiar voices from Polish television, cinema, radio and dusty vinyls (yes - samples from Mr. Kleks in Space had to be on the album, of course :) ).
There is no shortage of atmosphere-building instrumental fragments here, but also quite song-like tracks with catchy melodies and vocals. Fans of the band will certainly be satisfied.

What is there to say - ETNOBOTANIKA has created another classic, which simply must be on the shelf :) Trust them and let yourself be taken on a cosmic journey - satisfaction guaranteed!

Just before dropping the 3rd chapter in his "Threesome" series, Hus Kingpin surprises us with a brand new EP on which he gets out of his comfort zone, rapping on some chill hop beats provided by Wun Two and Made In M, once again proving the versatile and creative MC he's always been! Hand-Numbered pressing limited to 350 copies.

Private press 7 track 12" from 1996 that we never "officially" released. Until now. "The deepest dubs and asbtract sounds you can imagine from the raw & unfiltered mind of JORDAN FIELDS." Limited edition staying true to the original artwork. Grab it.

Trance always had a special place in the heart of Rico Puestel’s younger self, so he travelled through time and made this record!

"Slime Wave 2" is the highly anticipated sequel to Hus Kingpin's 2019 album, immersing listeners into the gritty, yet hypnotic world of one of the waviest MC’s in underground hip-hop. Building upon the foundation laid by its predecessor, this album pushes boundaries, blending intricate lyricism with captivating production to create an auditory journey like no other.
Backed by an array of talented producers, the album's beats range from soulful and jazz-infused to hard-hitting and gritty, providing the perfect backdrop for Hus Kingpin's lyrical prowess. Each track is a sonic masterpiece, meticulously crafted to evoke a range of emotions and keep listeners captivated from start to finish.
"Slime Wave 2" features a killer lineup of guest appearances, adding layers of depth and diversity to the album's sonic landscape, with Bala No Judas, Shyheim, Supreme Cerebral, Skrilla and Tritty joingin Hus on this journey.
Behind the boards, a stellar lineup of producers brings their A-game to "Slime Wave 2," ensuring a diverse and immersive listening experience. From the legendary Madlib's signature soulful soundscapes to the gritty, boom-bap vibes of Macapella, Owltree, and Manny Megz, each producer leaves their indelible mark on the album, creating a rich tapestry of beats that perfectly complement Hus Kingpin's lavish lyricism.

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern underground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while staying firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Entertainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

Berlin-based artist and label head Tom Peters returns to his techno-focused imprint ...isserving with IS011 - CAN U, a refined four-track vinyl-only release that channels groove,hypnosis, and physical intensity in equal measure.
The EP opens with "CAN U", a deep yet propulsive cut built around metallic percussion,textured synths, and a haunting vocal hook. Its stripped precision and subtle emotionalcharge reflect Peters' evolving sound-somewhere between warehouse minimalism andlate-night transcendence.
Ketch, from the SYXT collective, reimagines the title track with raw drive and rhythmicprecision. His remix sharpens the low-end punch while unfolding layers of atmospherictension that feel both industrial and intimate.
On the flip, "Control Conscious" dives deeper into Tom's hypnotic palette-dark, groove-heavy, and cinematic in its design.
Steffi's remix closes the EP with her signature blend of deep techno and Detroit-infusedswing: warm chords, tight percussion, and a dynamic arrangement that nods to bothemotion and functionality.
Pressed on 140g black vinyl in a limited run of 300 copies, CAN U EP encapsulates thecore spirit of ...is serving-techno with groove, depth, and emotional intelligence.

BLK ODYSSY is an Austin-based artist and producer whose boundary-pushing sound blends soul, hip-hop, rock, funk, and pop. Born in Plainfield, New Jersey, and raised in a household steeped in neo-soul, BLK began channeling his voice through music after the unjust killing of his older brother by police at age 12. That life-altering loss and the experience of growing up Black and male in 21st-century America fuels his raw, layered storytelling. His debut album, BLK VINTAGE (2021), written and produced with close collaborators, served as both a celebration and a critique of Black identity in America. It was met with critical acclaim and re-released in 2022 via Empire as BLK VINTAGE: The Reprise, featuring Mereba, Benny the Butcher, George Clinton, and Baby Rose. The project has since amassed over 100 million streams and positioned BLK ODYSSY as a standout voice in modern soul. His 2023 sophomore album, DIAMONDS & FREAKS, continued his ascent, merging surrealism and social commentary with contributions from Rapsody, KIRBY, Bootsy Collins, Cory Henry, and production from The Alchemist. NPR called BLK “a surrealist R&B auteur,” while Pitchfork praised his ability to bend genre into a cinematic sonic experience. In 2024, following a surreal Tiny Desk performance and festival appearances across Europe—including a headline set at North Sea Jazz Festival and Lollapalooza in Chicago—BLK ODYSSY launched a bold new chapter, with his third studio album, 1-800 FANTASY. The first single from the album, “WANT YOU” (co-produced by Tyler Johnson, known for his work with Harry Styles), marked a shift in tone. That was followed by “XXX” featuring Wiz Khalifa, and “STANK ROSE” featuring Joey Bada$$. Now averaging over 1M+ weekly streams, BLK ODYSSY is unleashing his fourth project, MOOD CONTROL, a ten-track album pushing alt-R&B, soul, and funk to new heights. 1xLP, pressed on Green, Brown & White 3 Color A Side B Side Vinyl.

The highly anticipated collaborative album, GOLDFISH, sees two of contemporary hip-hop's most revered and distinct production minds, Hit-Boy and The Alchemist, finally join forces for a full-length statement. Far from a simple beat-swap, this project is a masterclass in sonic cohesion, blurring the lines between their signature sounds to forge a new, golden-hued identity. Beyond production, the duo step from behind the boards to behind the mic to trade verses throughout the project, adding a personal layer to their creative vision.

GOLDFISH is a deeply immersive listen, perfectly balancing the West Coast muscle and polished, anthemic quality of Hit-Boy's work with the dusty, abstract texture and cinematic suspense that defines The Alchemist's aesthetic.

The result is a sound that feels both street-tested and museum-worthy. A collaborative manifesto, showcasing the infinite possibilities when two generational talents decide to link up, creating an instant classic in the canon of producer/MC albums.

The last gig played by The Who before the Quadrophenia tour was this seven track greatest hits set, broad-cast on Dutch television in March 1973. Featuring material from Tommy and Who's Next, the encore was a lengthy but engrossing version of Magic Bus. Comes with full recording details and extensive sleeve notes.

Terrestrial Funk presents a piece of Detroit history. Born and raised in Motor City, Karl Fultz knew at the age of twelve that he wanted to be the most talented and successful DJ in the world. In 1999 he released on Juan Atkins’ Metroplex under the alias People Mover and in 2000 he released as Black Electric on Puzzlebox. Inspired by British synth-pop duo Eurythmics, Fultz says Black Electric was a way to get more women involved in the techno movement. Together alongside vocalists Tiffany Elliott, Kim Glover & Talena Fultz, Black Electric brought sex appeal to the scene. Their first and only release stays in demand and has become inaccessible until now. Terrestrial Funk’s reissue provides two fresh cuts on the new 12”. ‘Purple’ a chugging Detroit acid track describing soul modification to enhance intimacy and a proper bassed out club mix of the nasty electro sex song ‘Work That’, which was only featured as an acapella on the original release. Black Electric stands as a testament to turn of the century Detroit and the city’s undying devotion to expand our connection to music.

Night is about to fall, the day slowly fades away, and it is this twilight time that Magda Drozd’s latest album inhabits. Divided by Dusk carries the promise of a crepuscular otherworldliness. Inspired by Drozd’s stays in Japan, its rich tradition in ambient and experimental music and a collaboration with Japanese flutist Rai Tateishi, as well as a renewed engagement with her roots in Poland and its folk and ancient history, her work is a form of sonic excavation. Layers of dark-ambient tones intertwine with field recordings, textured violin, and luminous folk motifs, invoking long-gone, unspecified rituals.

The album freely interprets traditional folklore, unleashing those ghosts of past cultures we inherit through music that has been passed down to us. Paired with experimental ambient sonic textures, the album carries a magnificent, wandering, melancholic air. The compositions take on an incantatory dimension, welcoming us into a liminal world—one filled with buried treasures.

Loom has the privilege of releasing T-Flex ‘Reconstruct, Mutate’ – blending analogue warmth with digital clarity from the producer’s nomadic phase to deliver a widescreen yet club-ready arc of techno/electro for the connoisseur.
* Casimir: Lean, driving Detroit electro groove weighted by tight bass and percussive punch.

* Liminal: Spacey, immersive and precise modulation station.

* Mutate 2: Darker, textural, warping tension.

* Face The Infinite: Expansive synth territory – the cinematic, resonant finale.

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

Twelve tracks from the New York Dolls recorded live for TV and radio in 1973, showcasing a raucous rock’n’roll band in their prime. Two cover versions – Hoochie Coochie Man and Give Her A Great Big Kiss – were never included on either of the band’s two original studio LPs. Comes with full recording details and extensive sleeve notes.

The title comes from a previously unreleased version of All The Young Dudes (track one, side one) specially recorded for the BBC. Elsewhere we have two further studio tracks aired by Sounds Of The Seventies, live versions of Midnight Lady and Thunderbuck Ram recorded for FM radio and a ferocious set of four live tracks originally broadcast on French TV in 1971.
Full recording details and extensive sleevenotes are included.

2026 Repress
Fellow long time in the disco trench dweller his graciousness Dimitri of Paris kindly offered us employment on a remix for him as his friend Malik, after doing said job we asked if we could impose a tariff of releasing our unused mixes, because he’s a super nice guy he complied with our art of the deal for art….Welcome to another EDM banger from BTD.

Detroit producer Sheefy McFly delivers his first release outside the US, featuring vocals from DJ Mo’Betta, Bevlove, Lola Damone, Tiptonaires and Etherpussy.

Aside from producing, Sheefy runs the Ghettotechtopia party series in Detroit, has previously worked with Amp Fiddler for a release on Moodymann's Mahogani Records and has remixed and released for AUX88.

As a visual artist, he creates colourful murals all over Detroit, inspired by the Motor City's musical history like the "Detroit Never Left" mural featured on the sleeve.

Vinyl Only!

Tenampa kicks off 2026 with a release from one of the most respected minds in electronic music, equally renowned for his work as an audio engineer and producer. Known under several aliases including Freestyle Man or Sasse, Klas Lindblad uses the latter for this special outing on the Mexican imprint.

Under his Sasse moniker, Lindblad delivers a refined selection of dubby house cuts, infused with warm, spring/summer energy.Effortlessly groovy with a subtle, hypnotic flow, this is music designed for the dancefloor yet built to stand the test of time, showcasing the depth and sonic excellence that define his work.

This release is strictly limited to 300 copies worldwide and available exclusively on vinyl, reinforcing its status as a true collector's item.

The artwork comes once again from the always outstanding Manuel Cetina, aka El_Stitch, whose visual approach adds an extra layer of character and value to this timeless release, earning it a well-deserved place in any serious record collection.

Art-work by renowned Mexican artist: Manuel Cetina aka el_stitch's.

2026 Repress

Deadbeat & Tikiman's occasional collaborative performances have since blown the minds of many audiences

Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate.

Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order.

Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement.

If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.

Mit gerade mal 17 Jahren releaste Joey Bada$$ sein erstes Mixtape "1999" welches den Sound der goldenen Hiphop-Ära der 90er Jahre adaptierte, so authentisch und selbstverständlich als sei er mit dabei gewesen.
Die Kritiker überschlugen sich in ihren begeisterten Rezensionen und es folgten Features mit Asap Rocky, Kendrick Lamar, Mac Miller & Action Bronson. Der junge Brooklynite ist schon längst mehr als nur ein Geheimtipp. Die ersten audiovisuellen Kostproben gab es in den vergangenen Monaten in Form von "Big Dusty" und "Christ Conscious". Am 20. Januar erscheint nun sein Debütalbum, das den Titel "B4.DA.A$$" trägt.

LP White. First re-issue since 2012, as exclusive colored LP to RSD

2026 Repress

KiNK & Raredub launch new sub-label Raw on SHDW's Mutual Rytm with bold two-tracker 'You And Me', backed by a VIP remix of 'Time To Change' from Paul Woolford aka Special Request.

Following their standout debut on Spectra with 'Time To Change', Bulgaria's finest dance music export KiNK & Raredub return to the Mutual Rytm universe to launch the label's new sub-series: Mutual Rytm Raw. Their latest release, 'You And Me', marks the next step in their collaboration - two stripped-back yet anthemic cuts that embody their signature sound: "Rude Boy Techno", a fusion of techno's drive with the swing and grit of UK Garage. Both versions of 'You And Me' are built for the floor, combining sharp percussion, catchy vocal hooks, and powerful low-end pressure - minimal in structure but rich in character and groove.

Rounding off the release is a standout VIP remix from Paul Woolford aka Special Request - one of his infamous 'Variation in Production' versions - offering a stripped yet high-impact reinterpretation of KiNK & Raredub's previous single 'Time To Change'. Raw, rolling, and unmistakably shaped by his UK Garage-influenced style.

New Animals On Psychedelics by Krijka!

A1 Cloning Procedures , has the animals trapped in a lab taken over by a corrupt cloning program, where cell and gene modifications end in diastiours transgenic mutations.

A2 E-Tribes, take us on playful stomp into the woods with 2 samurai elders, glooping through flanged bass and hypnotic percussion, slowly feeling more like a mushroom trip gone wrong than a safaras harvesting by a clandestine ecstasy tribe.

B1 Mad Caps, ramps up the sleaze for a straight up curb crawling research chemical work out / sci fi electro technoid hoedown.

B2 Datura, the EP's last act of sorcery, is driven by a bold roaming synth bass, cunning key changes, trippy vox and discerning judders, asking us if any of this is real??

Bleachers' new album “everyone for ten minutes” will be released on 22 May 2026. Described by The New York Times as “anthemic, life-affirming pop rock,” Bleachers are fronted by eleven-time Grammy Award-winning singer, songwriter, musician, and producer Jack Antonoff. Over the past decade, Bleachers have built a massive, devoted following, renowned for their impressive live show and infectious camaraderie. Bleachers’ self-titled fourth studio took the band to new heights including a sold-out Madison Square Garden & the cover of Rolling Stone magazine.

Bleachers' new album “everyone for ten minutes” will be released on 22 May 2026. Described by The New York Times as “anthemic, life-affirming pop rock,” Bleachers are fronted by eleven-time Grammy Award-winning singer, songwriter, musician, and producer Jack Antonoff. Over the past decade, Bleachers have built a massive, devoted following, renowned for their impressive live show and infectious camaraderie. Bleachers’ self-titled fourth studio took the band to new heights including a sold-out Madison Square Garden & the cover of Rolling Stone magazine.