DJ Support: Harvey, Balearic Mike, K Andrews, Apiento, Joe Morris, Idjuts, Piers Harrision, Flo Dill, James Holroyd, Andy Wilson, Kenneth Bager, Phil Mison, Colleen Murphy.
Following the success of the Lovehandles ‘Reworks’ EP, Oswego Music returns with a second volume of reinterpretations via the mysterious ‘Love from the Archipelago’ the alter ego of a renowned European digger, dj and producer.
First up here ‘Endless Ocean’ sees our island hopping hero reimagining an underrated antipodean 80’s track. Its pulsing synths and wistful vocal working as equally on a dancefloor as at the after party, or indeed the morning after the night before.
Track Two on side A ‘Carica’ takes us to South America recalling to some extent the west coast fusion of mid eighties artists like Pat Metheny. Brilliant percussion, vocals and synths combining into a heady, hazy workout- permed hair and tiny shorts optional.
First on the flip ‘En Route’ continues our journey (via the local library) with a gritty, synth heavy piece of post disco experimentalism extended here for your listening pleasure
Lastly, ‘A Grain of Sand’ reinterprets a folky aor number- long overdue in making it to vinyl- remaining (until now) a favourite digital secret weapon for the more ‘horizontally inclined’ dj.
Rounding out the EP, 1900-Isla provides a brief meditation on what it is to be free. A beautiful island in the middle of nowhere, with friends, as the sun sets…
This special 3LP clear vinyl collates the “Back To Black” era in a definitive package. Featuring the original studio album, 4x unreleased demos, rare B-sides and demos, alongside the notable live performance from Paradiso, Amsterdam (February 8th 2007) from the Back To Black tour, never released in full and on vinyl.
This edition features brand new alternative cover artwork, including Amy’s handwritten lyrics, and never-before-seen photos by original album photographers Mischa Richter and Alex Lake, plus brand new, exclusive liner notes from Mark Ronson and Salaam Remi.
2026 celebrates the 20th anniversary of the 5x Grammy award winning album “Back To Black”, universally regarded as one of the greatest, most important and influential albums in pop history.
This special 3LP clear vinyl collates the “Back To Black” era in a definitive package. Featuring the original studio album, 4x unreleased demos, rare B-sides and demos, alongside the notable live performance from Paradiso, Amsterdam (February 8th 2007) from the Back To Black tour, never released in full and on vinyl.
This edition features brand new alternative cover artwork, including Amy’s handwritten lyrics, and never-before-seen photos by original album photographers Mischa Richter and Alex Lake, plus brand new, exclusive liner notes from Mark Ronson and Salaam Remi.
2026 celebrates the 20th anniversary of the 5x Grammy award winning album “Back To Black”, universally regarded as one of the greatest, most important and influential albums in pop history.
We worked closely with surviving members of The Nerves, Paul Collins and Peter Case along with Jack Lee's daughter Cynthia to bring The Nerves - Best Collection to you.
Unlike previous releases that often relied on secondary copies or rips from vinyl and CDs, we were able to locate the original source recordings and have Warren Defever master/remaster them at Third Man Mastering in Detroit for this release. This is what makes this record so special—it features the definitive versions of these tracks as they were originally intended, some have not been heard since the day they were recorded. We hope you enjoy it.
We worked closely with surviving members of The Nerves, Paul Collins and Peter Case along with Jack Lee's daughter Cynthia to bring The Nerves - Best Collection to you.
Unlike previous releases that often relied on secondary copies or rips from vinyl and CDs, we were able to locate the original source recordings and have Warren Defever master/remaster them at Third Man Mastering in Detroit for this release. This is what makes this record so special—it features the definitive versions of these tracks as they were originally intended, some have not been heard since the day they were recorded. We hope you enjoy it.
Cultivated Electronics celebrates two decades at the forefront of electro with its landmark 50th release on the main label, returning to the very beginning with a new release from Signal Type - the collaborative project of label head Sync 24 and Matt Whitehead. The anniversary EP pays homage to the sound that launched Cultivated Electronics back on CE001 A1, with Signal Type delivering "Break Through", a snappy, driving and psychedelic electro workout built firmly for the dancefloor. Funky, spacey and packed with the restless energy that has defined the label since its inception, the track feels both like a nod to CE's roots and a statement of where the label stands today. The celebrations continue with three remixes from long-standing Cultivated Electronics collaborators and influential figures within the electro scene. Keith Tenniswood, aka Radioactive Man, brings an old-school, Mad Mike-esque Underground Resistance flavour to his rework, injecting the original with raw Detroit-inspired energy and machine-driven propulsion. Carl A. Finlow, operating under his Silicon Scally moniker, takes things deeper, delivering a heady after-hours interpretation built around immersive, late-night club sonics. Rounding out the EP, Finnish electro pioneers Morphology deliver a hypnotic, 90s-inspired roller, bringing their distinctive analogue sensibility and futuristic groove to the original. The vinyl edition arrives on blue marbled translucent coloured vinyl, housed in a full-sleeve package featuring artwork from Geometric Love. From its first release to its 50th, Cultivated Electronics has remained dedicated to forward-thinking electro, connecting classic machine funk with contemporary club sounds. CE050 marks both a celebration of the label's history and a salute to the artists and sounds that continue to shape its future. Here's to another 50 releases.
Music From Memory presents ‘Mutualkind’, by Asa Tone, the collaborative project of Melati ESP, Tristan Arp and Kaazi. Written between Indonesia, Mexico City, Berlin and New York, the record unfolds through a process of continual exchange, where distance itself becomes part of the group’s music formation.
At the centre of the album is the idea of a shared language, formed across differences in geography, experience and musical approach. One such process explores Tristan’s electronic hand percussion triggering fragments of Melati’s voice in real time, while a library of spoken words and phonemes are reshaped through chance-based rhythmic processes. Voice becomes percussion, rhythm becomes melody, and the lines between individual contributions begin to dissolve.
Some pieces, including ‘Water Talk’ and ‘Second Language’, were recorded live in a single take, while others were assembled gradually through remote exchange. During the final sessions in Indonesia, Balinese percussionist Putu Septa contributed kendang to two tracks, bringing the instrument into dialogue with modular synthesis, FM textures, electronic drums, MIDI wind instruments and Melati’s shifting vocal forms.
Sounds are slowed, stuttered and reorganised, reflecting a world shaped by illusory borders, vanishing landscapes and glitching ecosystems. Yet the album remains rooted in the act of tending to something shared: a musical field built through listening, improvisation and repeated moments of reunion.
‘Mutualkind’ seeks to blur boundaries without erasing the identities that meet across them, providing a space in which voice and instrument, self and other, separation and togetherness can briefly exist at once.
MFM086 will be released on vinyl and digitally via Music From Memory on October 22nd 2026.
Not only has the Montreal native cemented his place as one of the most talented producers in the dubstep scene, but his incredible work ethic, energy, and passion—matched by his undeniable talent—mean his ascension is quite simply inevitable.
DDD has been proud to play our part in his career journey, and things are taking another step forward with the phenomenal album Rites.
A tour de force of audio sorcery, savagery, and sacrilege, Rites subjects the listener to Wraz.’ trademark mix of filthy 140 dubstep, thumping trap flavours, and industrial grittiness.
This is expertly melded with stunning, captivating, suspense-filled interludes that provide counterpoints to the bass punishment in ways that are both tension-inducing, yet beautiful.
Featuring collaborations with label bossmen Truth and DDD favourite Hypho, Wraz.’ sonic understanding of his craft feels unparalleled throughout. Each track brings its own unique flavour, while sitting together as a body of work with remarkable cohesion.
Keep a lookout for this as the first DDD vinyl drop of 2026—alongside its full digital release—Rites marks a seismic moment for both Wraz. and the 140 scene.
Wraz. is putting the world to Rites, while we’re living in his universe.
If the name The Midnight Hour isn't immediately familiar, the music almost certainly is. Ali Shaheed Muhammad is a founding member of A Tribe Called Quest, one of the most beloved groups in hip hop history. Adrian Younge is the Los Angeles-based composer, multi-instrumentalist, and producer who has shaped the sound of some of the most critically admired records of the past two decades. Together, they have been architects of the sound that serious listeners point to when they try to describe what great music feels like.
The music they had been making together had a life of its own. By 2018, it had become The Midnight Hour: their self-titled debut album, recorded to tape with a live rhythm section and a full orchestra, and released to widespread acclaim. In 2020, the duo were deep into sessions for a second album. But then the world shut down, the recordings were shelved. The album never came and remained unfinished and unheard. But now, via their Jazz Is Dead label, The Lost Tapes have been unearthed
If the name The Midnight Hour isn't immediately familiar, the music almost certainly is. Ali Shaheed Muhammad is a founding member of A Tribe Called Quest, one of the most beloved groups in hip hop history. Adrian Younge is the Los Angeles-based composer, multi-instrumentalist, and producer who has shaped the sound of some of the most critically admired records of the past two decades. Together, they have been architects of the sound that serious listeners point to when they try to describe what great music feels like.
The music they had been making together had a life of its own. By 2018, it had become The Midnight Hour: their self-titled debut album, recorded to tape with a live rhythm section and a full orchestra, and released to widespread acclaim. In 2020, the duo were deep into sessions for a second album. But then the world shut down, the recordings were shelved. The album never came and remained unfinished and unheard. But now, via their Jazz Is Dead label, The Lost Tapes have been unearthed
DAYBREAKERS continue the journey through Fred Everything's archives with a second collection of previously unreleased recordings. If the last release captured the early years, this next chapter moves into the period between 2008 and 2015, uncovering more forgotten gems from one of Montreal's finest.
Fred Everything is one of those producers whose influence runs deep. From his early releases on 20:20 Vision through to decades of essential music on Lazy Days and beyond, he's built a catalogue that's earned the respect of DJs and dancers across the world, always staying true to his own sound.
Once again, Fred opened the vault, revealing another batch of unheard productions that had somehow escaped release. This time the sound leans a little further into the dancefloor, with warm grooves, rolling basslines and the kind of understated musicality that's become synonymous with his name.
These recordings may have been made between 2008 and 2015, but they've lost none of their spark. Timeless, understated and effortlessly classy, they remind you why Fred Everything remains one of deep house's most consistent voices.
Three more lost gems, finally finding their place.
Tresor Records announces GODSPEED, a new EP from NVST, out on October 23, 2026. From its origins in the Motor City and through to the themes of interstellar travel, techno has always been a genre focussed on forward movement, a tradition that GODSPEED continues boththrough music and title.
The EP is a collection that brings to mind the spirit of early, non-conformist releases on Tresor, full of hypnotic synth loops, spacious FX, and breakbeats, yet with a crisp and modern sonic palette. Side A embarks with two tracks that combine a low, buzzing bassline with trippy melodies and percussion that ventures close to breaks and electro, while the B-side moves intothe fast lane with driving acid and more regimented drums. Digital bonus track "Firliner" combines both approaches across its seven-and-a-half minutes, as a buzzy bassline and spluttering beat ignite into a steady trance-induction.
The EP title arrived the way the best ones do: not so much chosen as absorbed from the aether, the word kept popping up during the creative process until it became the ideal name for this collection, given its connotation with setting out on a journey.
"You remember the nights where you've been on the floor for hours without realising how much time has passed, the conversations you can't fully recall, or how unexpectedly open you've been to everything around you. The music speaks the language of substance not as a statement, but as a way of describing perception. It's about experimenting with yourself, your body, your hearing, your emotions. About reaching a point where things that once felt permanent suddenly lose their grip, even if only for a moment. These recordings come from that place. They capture moments where movement replaces thought, memories blur into feeling, and vulnerability becomes part of the process. They're documents of a very
specific time, but also of something much more familiar: trying to lose yourself just enough to find a different version of who you are." NVST
This fast-paced forward travel is implicit in the word speed, but once this word indicated power or prosperity so that godspeed is a wish for success, forming an appropriate double meaning for this first full release of NVST on Tresor.
Trixie Whitley returns with 'Folded Time', her first full-length album in seven years and one of her most adventurous and rhythmically driven records to date. Written largely at the kitchen table of her Brooklyn apartment and recorded between Brussels, New York and Montréal, the nine-track album finds Whitley moving freely between rock, soul, R&B and more experimental territory.
Rhythm sits at the heart of 'Folded Time'. Whitley plays drums, bass, guitar and piano herself, with her love of polyrhythms running throughout the record. Heavy, slow-moving drums turn opener 'Carry' into a mantra, 'Fascinating and Fun' grew out of studio improvisation, while on 'Carnaval' Whitley and Cem Misirlioglu face each other behind two drum kits for what she calls a "drum rave". Her unmistakable voice remains at the centre, moving just as easily between restraint and raw power.
Across the album, Whitley looks at motherhood, womanhood, heartbreak, desire and forgiveness, and at how the past continues to shape who we become. It is a record about taking stock without standing still: instinctive and physical, but full of detail.
‘Finally’, the forthcoming new record from Catz ’n Dogz, belongs to the latter.
There are albums you listen to, and there are albums you live with. ‘Finally’, the forthcoming new record from Catz ’n Dogz, belongs to the latter.
Across sixteen tracks, Voitek and Greg have created their most creatively ambitious and emotionally open work to date. An album about relationships, friendship and the people and places that shape us. At its heart is a simple idea: music should make you feel something, and sometimes the most meaningful moments are the quiet ones when you finally have time to yourself.
Finally is rooted in the emotional contradictions that make memories so powerful. Inspired by classic American Folk and Soul, its songs are happy and nostalgic; hopeful without pretending that the past doesn’t exist. There is melancholy inside the euphoria and warmth inside the sadness, a constant interplay between looking back and moving forward.
The album begins with the soulful breakbeat glow of 'We’re Gonna Be Alright' featuring Ajii, before moving through the smoky jazz and piano-led intimacy of 'Dance For You' with Miller Blue and the bass-driven energy of 'Sun Goes Down' featuring Charlotte Haining. Closing with the reflective 'Miss You' featuring Mateusz Krautwurst, the record takes in a rich cast of vocalists, musicians and producers, alongside a series of deeply personal Catz ’n Dogz solo productions.
Those collaborations are central to Finally. The album is, in many ways, a celebration of the creative friendships Voitek and Greg have built throughout their journey. Relationships that have allowed them to step outside their comfort zone and rethink what their music can be.
Written and recorded between Madrid, New York, Warsaw and the road, the album finds the duo placing renewed emphasis on songwriting, chord progressions and musical craft. Rather than simply chasing the next track, they took the time to learn, experiment and create something with a sense of permanence.
This is an album for driving without a destination. For watching the sun go down. For remembering somebody you haven’t thought about in years. For those rare stretches of time when there is nowhere else you need to be.
From the globally acclaimed spiritual jazz album RUSHIN' (Mono Jazz), "PHAROAH'S MESSAGE" channels the spiritual legacy of Pharoah Sanders and John Coltrane into the present day. At its center is Joe Claussell's expansive alternate remix, where Afro-diasporic ritual, deep house, and jazz mysticism converge. Also featuring Didje Doo, with a Balearic sound and WATH with an Eastern Sound, this release reimagines the spirit of jazz for a new generation of listeners, dancers, and seekers.
Naarm/Melbourne-based artist Now Always Fades returns with Coalesce, the follow-up to his widely acclaimed 2025 album Into The Doldrums. The project of Xavier Bacash, Coalesce sees the musician evolving his modernised approach to downtempo and trip-hop, genres in which he has been heralded as a leading new voice amid their growing popularity. Across the record, NAF's musical and thematic universe expands with the return and addition of a series of new vocal collaborators, speaking to the versatility of a voice as a contextual instrument. In doing so, throughout 'Coalesce', he continues to develop a kind of sonic consistency that focuses on shared emotion above all else. In pursuing those feelings, Now Always Fades finds himself alongside a series of strong and soulful voices: Alia Seror-O'Neill, otherwise known as Alias Error; Lili Hall; and Olive Kimoto, NTS Radio host and singer behind influential 90s band Locust. Throughout the record, each vocalist finds themselves on tracks entirely for them, and in doing so, the NAF project provides everyone involved, and the listener, with something sonically new but emotionally familiar at every turn.
Tokyo-based producer aus debuts on Squama with his new album Mere Meer.
Grounded in the question of how a specific environment can emerge through voice and memory, rather than through recording of an objective reality, the album stands in the tradition of modern Japanese Ambient and Kankyo Ongaku.
aus is the solo project of composer, producer, and curator Yasuhiko Fukuzono. His music is characterized by a precise combination of cinematic strings, acoustic instrumentation, and concrete sound design derived from everyday life.
In recent years, he released music on EM Records, WRWTFWW and his own flau imprint. As a remixer, he put his touch on tracks by Matthew Herbert, Tenniscoats and Craig Armstrong, among others.
His sonic research also extends beyond traditional formats into spatial sound installations and site-specific works, collaborating with experimental figures like Ulla, Li Yilei, and Hinako Omori for institutions such as the Tokyo National Museum.
Much of the album consists of sketches made with synthesizer and voice. Sampled from social media clips, field recordings or a heavily processed version of Fukuzono's own vocals, the voice became a central element of the record. "I have long been interested in the relationship between words and melody.", aus says. In his former work as a speech therapist, he witnessed patients with severe dementia or aphasia, who all of a sudden could recall lyrics when they were sung with familiar melodies. An experience that left a deep impression on him.
During the Covid years, when hearing voices of friends and family sometimes was the only way to feel connected to the outside world, aus began reflecting on the connection between voice and environment. "Every voice represents an encounter with a person, but it's also an encounter with a place."
Unable to travel as freely as before, that limitation became part of his method: rather than just recording actual field material capturing the real world, he would write and perform melodies that simulate a sense of place - an imagined room, an imagined street.
"My interest lies not in the dichotomy between artificial and environmental sounds, but in how they collectively shape a single perceptual field."
By observing and mapping our world, aus creates his own and his new record is a prime example of that process.
Phenomena begins with two artistic voices that seem to speak different languages. Barcelona-based producer R-010 (Lucas Rojo) approaches composition through rhythm, space and electronic transformation; Madrid-born vocalist and multidisciplinary artist Venerandi through texture, breath and the expressive possibilities of the human voice. By the time the album reaches its final moments, that distinction has quietly disappeared.
Rather than functioning as a meeting point between two individual practices, Phenomena gradually
becomes a third language—one that belongs to neither artist alone. Voice no longer sits above the music
but moves inside it, dissolving into layers of synthesis, percussion and guitar until performance itself
becomes another malleable sound source. Likewise, electronic production never behaves as a fixed
environment; it constantly adapts, absorbs and responds, allowing acoustic gestures and digital
manipulation to reshape one another in real time.
This continuous transformation defines the record more than any particular genre ever could. Echoes of trip hop, bass music, psychedelia and experimental electronics drift across its surface, yet they are never
presented as stylistic markers. Instead, they appear as temporary states within an ecosystem that remains
in constant motion, where dense rhythmic passages collapse into suspended atmospheres and moments
of stillness carry as much weight as those driven by pulse.
The presence of Matteo Caro (guitar and percussion), Pablo Gorostiaga (guitar) and Alessio Rodolico
(percussion) further expands this dialogue. Their contributions are not decorative additions but structural
ones, gradually dissolving the distinction between composition, improvisation and production. Instruments
emerge, mutate and disappear inside the same sonic fabric, making it increasingly difficult to distinguish
what was performed from what was transformed.
With Phenomena, Lapsus Records presents a work that feels less interested in crossing genres than in
questioning the borders between artistic identities themselves. The album never asks the listener to decide
where the human ends and the machine begins. Instead, it quietly suggests that, after enough careful
listening, the question itself may no longer matter.
Industrial noise terrorists LARD, the legendary collision of Jello Biafra and Ministry masterminds Al Jourgensen and Paul Barker, return with the long-awaited repress of their 1990 full-length masterpiece, The Last Temptation of Reid.
A vicious fusion of industrial metal, punk rock, political outrage, and black humor, The Last Temptation of Reid remains as relevant, confrontational, and sonically devastating today as it was when it first detonated over three decades ago. From the opening assault of “Forkboy” (later featured on the Natural Born Killers soundtrack) to the twisted brilliance of “Pineapple Face,” “Drug Raid at 4 AM,” and their unhinged reinvention of “They’re Coming to Take Me Away,” (originally performed by Napoleon XIV), LARD created a collection of songs that still sounds unlike anything before or since.
This new edition has been worth the wait. After production setbacks and multiple rounds of test pressings, Jello Biafra personally halted the project to completely remaster the album, ensuring it finally received the sonic treatment it deserved. The result is the best-sounding vinyl edition of The Last Temptation of Reid ever released. As a special bonus, this edition now includes bonus one sided 12” vinyl of “I Am Your Clock.” Originally a UK exclusive 12”, it’s never been repressed until now.
Originally released on Alternative Tentacles in 1990, The Last Temptation of Reid captured the paranoia, hypocrisy, corruption, and media madness of its era with razor-sharp wit and a patented wall of noise and sonic wizardry. The unsettling truth is that it may hit even harder today.
Industrial noise terrorists LARD, the legendary collision of Jello Biafra and Ministry masterminds Al Jourgensen and Paul Barker, return with the long-awaited repress of their 1990 full-length masterpiece, The Last Temptation of Reid.
A vicious fusion of industrial metal, punk rock, political outrage, and black humor, The Last Temptation of Reid remains as relevant, confrontational, and sonically devastating today as it was when it first detonated over three decades ago. From the opening assault of “Forkboy” (later featured on the Natural Born Killers soundtrack) to the twisted brilliance of “Pineapple Face,” “Drug Raid at 4 AM,” and their unhinged reinvention of “They’re Coming to Take Me Away,” (originally performed by Napoleon XIV), LARD created a collection of songs that still sounds unlike anything before or since.
This new edition has been worth the wait. After production setbacks and multiple rounds of test pressings, Jello Biafra personally halted the project to completely remaster the album, ensuring it finally received the sonic treatment it deserved. The result is the best-sounding vinyl edition of The Last Temptation of Reid ever released. As a special bonus, this edition now includes bonus one sided 12” vinyl of “I Am Your Clock.” Originally a UK exclusive 12”, it’s never been repressed until now.
Originally released on Alternative Tentacles in 1990, The Last Temptation of Reid captured the paranoia, hypocrisy, corruption, and media madness of its era with razor-sharp wit and a patented wall of noise and sonic wizardry. The unsettling truth is that it may hit even harder today.
Do you know what time it is? It’s Prime Time, the new EP on Punctuality from mischievous French duo Pureblast . Marking the label’s twelfth release, the record serves as a bold statement of intent from the Parisian pair and demonstrates why they’re quickly earning a reputation as one of France’s most exciting live acts.
Across the EP’s five tracks, Pureblast weave together a broad spectrum of influences while remaining deeply rooted in the duo’s singular vision. Every cut is fat, pumping, gritty and playful, ready to turn heads and hips on the dancefloor.
Side-stepping easy genre classifications, Prime Time is modern rolling prog at its most energetic. Tightly wound low-end, pummelling drums and restless basslines drive each track forward with purpose, while sa+ga’s vocals are manipulated and distorted to humanoid perfection. The result is something distinctly personal beneath the machine funk: robotic yet seductive, gritty yet playful.
Deep listeners will spot nods to tranced up breakbeats, Ray of Light-era big beat, Detroit electro and contemporary UK techno with psy-fluenced synth swirls and texture. Far from pastiche, these influences are absorbed into the Pureblast machine and transformed into something entirely their own.
Gritty, pumping, sexy and playful. It’s Pureblast, it’s Prime Time.
credits
Continuing M-Plant's Perpetual Masters series, October sees the vinyl release of Robert Hood's "Red Passion I".
"Red Passion I" was original released in 1999 on his Duet label featuring three tracks of Minimal Techno at its most hypnotic and effective, stripped back to the essentials. It layers taut rhythms, subtle modulation and deep Detroit groove. Hood's mastery lies in making tiny shifts feel monumental, creating sustained tension and movement without excess.
A timeless example of minimalism achieving maximum impact, which is now remastered for 2026 by Thomas P. Heckmann.
Breakbeat Paradise Recordings proudly welcomes back one of the undisputed heavyweights of the international funk and breaks scene, Basement Freaks, for another scorching edition of the Toxic Funk series.
The brainchild of Greek producer George Fotiadis, Basement Freaks has spent more than two decades building a worldwide reputation for infectious grooves, heavyweight beats and dancefloor-destroying funk. With releases on labels including Jalapeño Records, Bombastic Jam, Good Groove Records and many more, Basement Freaks has become a staple in DJ sets around the globe and one of the most respected names in modern funk.
Opening the release is Got That Funky Stuff, an irresistible slice of raw party funk packed with chunky breakbeats, killer basslines and soulful samples that are guaranteed to get any crowd moving. Flipping over, Life For Dat Sweet Ting keeps the energy flowing with another irresistible groove, combining vintage funk flavors, rolling drums and signature Basement Freaks swagger into a certified dancefloor weapon.
Whether you're a funk DJ, breakbeat selector or simply a lover of timeless grooves, Toxic Funk Vol. 25 delivers two expertly crafted cuts that showcase why Basement Freaks remains at the very top of the global Nu Funk scene. Another essential 7-inch for collectors and DJs alike, and another dose of pure funk from Breakbeat Paradise Recordings.
UK techno lynchpin James Ruskin celebrates 30 years of Blueprint with a remastered edition of his 'Further Design' LP, releasing 4th September 2026. Founded by Ruskin and Richard Polson in 1996, the infl uential label has spent three decades documenting uncompromising techno through releases from the likes of Rommek, Kr!z, Truncate, and many more, with 'Further Design' originally landing in 1998. The anniversary celebrations have already seen Mark Broom revisit seminal Regis recordings on the 'Power Is Neutral' EP, with further releases from Kerrie, Nastia, and more to follow, alongside a merchandise run later this year.
James Ruskin has been a constant presence in techno for over three decades. He defi ned the sound of British techno through his DJ sets, productions, and the releases on his infl uential Blueprint label. His stripped-back, functional, and forward-thinking sound has remained utterly uncompromising, with performances at clubs and festivals around the world while never straying from underground ideals. Substance over trends has always been his MO, through a catalogue spanning Blueprint, Tresor, and numerous collaborations that remain timeless.
The purposeful titles of the tracks on this essential album hint at the minimalist approach to sound. This is bold, linear techno with 'Enter', 'Below', and 'Indirect World' kicking off with rolling low ends and smart sound designs that even now sound futuristic. The likes of 'The Divide' bring spangled synths and crunchy percussive textures that jerk you into motion, while 'Time And Place' is an immersive cosmic odyssey and 'Unknown Destination' melts the mind with liquid synth work that loops around hypotonic rhythms. 'Work' is another perfectly calibrated cut with meticulous percussive placement and the shimmering of bells that dissolve space and time.
It is testament to Ruskin's original vision that 'Further Design' remains as evocative today as it was upon its release, full of otherworldly imagery and grooves that continue to move dance fl oors around the world.
Als Adebowale Osunnibu mit dem, was später ,Kilofese" werden sollte, auf uns zukam, wussten wir, dass er etwas Besonderes hatte. Abgesehen von Fela Kutis eigener Band ,Egypt 80" (die mittlerweile von seinem Sohn Seun Kuti geleitet wird) ist es erstaunlich selten, dass Afrobeat-Musik in ihrer Heimatstadt Lagos, Nigeria, gemacht wird. Tatsächlich spielte Adebowale viele Jahre lang bei Egypt 80 am Baritonsaxophon und vertiefte so sein Verständnis für die Musik, mit der er aufgewachsen war. Als er uns erzählte, dass er seine eigene Musik schuf, seine Stimme in den Vordergrund stellte und mit der nächsten Generation von Studenten in Lagos zusammenarbeitete, konnten wir es daher kaum erwarten, sie zu hören. Angesichts seiner Ausbildung in der traditionsreichsten Afrobeat-Band aller Zeiten hätte uns das, was er uns schickte, nicht überraschen dürfen: ein Album voller kraftvoller Gesangspassagen, kaskadenartiger Bläserlinien und unerbittlich treibender Grooves. Vom langsam aufbauenden ,AJO" bis zum rasanten ,Kilofese" wird jeder Song von einem rhythmischen Kraftpaket getragen, um Botschaften von Freiheit, Kultur und Freude zu vermitteln. ,Kilofese", was auf Yoruba ,Tu, was du tun willst" bedeutet, steht in direktem Gegensatz zur staatlichen Kontrolle. Der Grundpfeiler des Afrobeat, der sich von seinen Vorgängern Highlife und Funk unterscheidet, ist die Verachtung der Kolonialherrschaft, der staatlichen Korruption und der Unterdrückung des einfachen Volkes. Mit einem Fundament aus James-Brown-inspiriertem Funk, yorubanischer Sensibilität und Tony Allens genialem Schlagzeugspiel hat Fela Kuti diese Gefühle in Nigeria und dem Rest der Welt verbreitet - und sie hallen über Jahrzehnte hinweg bis in den heutigen Tag nach. ,Kilofese" ist ein Album, das diesen Sound mit Originalität an zukünftige Generationen weitergibt und dabei die Kraft des klassischen Afrobeat bewahrt. Für Fans von Fela Kuti, Ebo Taylor, Budos Band, Quantic
"ABYSSUS stand as one of the most significant forces within the Greek Death Metal scene, having forged their path since 2011. Drawing profound inspiration from genre-defining pioneers such as DEATH, OBITUARY and BOLT THROWER, the band preserves the unadulterated spirit of old school death metal while imprinting their own distinct identity.
From the very outset, ABYSSUS placed equal emphasis on studio output and live performance. A steady stream of EPs and split releases established their presence within the international Underground metal community. Their debut full-length, „Into the Abyss“ (2015), garnered widespread acclaim and marked a pivotal moment in the band’s evolution - leading to increasingly frequent appearances both in Greece and across Europe, often sharing the stage with renowned acts, like POSSESSED, SINISTER, SUICIDAL ANGELS and ROTTING CHRIST.
With renewed creative vigour and greater maturity, ABYSSUS unveiled their sophomore album „Death Revival“ in 2022 via Transcending Obscurity Records. Adorned with an arresting cover by the legendary Andreas Marschall (KREATOR, BLIND GUARDIAN, IN FLAMES a.o.), the album was met with universal praise, further cementing the band’s reputation for delivering unrelenting, yet masterfully crafted, death metal. More shows with a.o. ASPHYX, TANKARD, GRAVE DIGGER and THE CROWN followed.
Now in 2026, ABYSSUS return with their third full-length opus, “The Reign” - a ferocious testament to their artistic evolution. The album encapsulates all the core elements that have defined death metal through the decades: raw aggression, blistering riff-work, and a suffocating, commanding atmosphere. Once again, the visual narrative is entrusted to Andreas Marschall, whose artwork enhances the band’s sonic vision with striking intensity.
Relentlessly evolving, ABYSSUS remain true to their roots while continuing to push the boundaries of the genre. With a prolific discography and an ever-growing presence on the live circuit, they have rightfully earned their place as a formidable name within the global death metal landscape."
Brussels composer and organist Sander De Keere debuts on Phantom Limb with evocative, elegant new works for solo church organ The Manual Stop, mosaicking patterns of minimalism, IDM, electronic, and sacred music with utmost symbiosis and reverence for the instrument. Recorded entirely on a centuries-old Contius baroque organ at the historic St. Catharina Church in the town of Wondelgem (Ghent, Belgium), The Manual Stop is described by Sander De Keere as “an homage to the organ’s ancient craftsmanship and sonic experiment in itself.” While remaining in keen veneration to the instrument, its heritage, and its spiritual gravitas, De Keere’s works employ the church organ as the centrepiece of a broad compositional superstructure coloured by the influence of many contrasting music.
A Portal To The Unknown – 7 Rotations of Neptune Discs brings together 12 producers across a double LP. Tifra and Match Box return following their own ep’s on the label this year, joined by familiar contributors Wigs, Aiden Francis, Jeku, Cybernet and Mahkina. COZi, Dive Crew and Thurlow Joyce make their first appearances, with Milès Borghese and Biodive completing the four sides.
Run independently by Astro from Edinburgh, Neptune Discs treats the exploratory ideas of ’90s and early-’00s club music as unfinished business. Prog, trance, tech house and dub techno remain reference points rather than templates, with more than 50 releases—and the arrival of Jupiter’s Depth and Pyramid Fields—allowing that identity to keep developing.
Wigs’ “Strangers” and Aiden Francis’ “Uno” bring warped, driving prog. COZi makes his Neptune debut with “Ride The Snake”, a lean, stripped-back tech-house roller that brings early-2000s economy into the present. Jeku follows with “Droop”, a trippy, ozone-soaked slow roller, while Thurlow Joyce closes with the warm, deeply submerged dub techno of “Sundowner”.
Beyond the vinyl, three digital exclusives expand the release: Bert Vesper’s “Babbel Truc”, Azzecca’s “Home” and Foley’s “What Could’ve Been”.
Featuring artwork by theAJM, the release is pressed across two 12-inches, distributed by One Eye Witness and arrives on 23 October 2026.
To celebrate the 25th Anniversary of their 7th album from 23 October, 2001 (their last with Brant Bjork), Fu Manchu is releasing California Crossing 25th Anniversary Edition. Recorded at the legendary Sound City Studios in Los Angeles, California by the band and Matt Hyde (DEFTONES, SLAYER, MONSTER MAGNET), California Crossing is the band’s most commercially successful release. The 11 song collection includes “Mongoose” (as seen in a Toyota Super Bowl commercial, Sons of Anarchy, The Hot Chick, Boondock Saints II and more), “Squash That Fly” (their most successful radio single), “Bultaco” (featuring vocals by The Circle Jerks’ Keith Morris) and fan favorites “Separate Kingdom,” “Hang On” and the title track. This limited edition 2,000 unit run is pressed on Custom Red, White and Blue 3 layer color vinyl in a gatefold package. The LP features newly remastered audio for maximum fidelity. "a strangely nihilistic celebration of all things Cali." - The Guardian “Fu Manchu are the stoned Ramones, a matey Motorhead: a band who can rewrite that album into the infinite future and rule perpetually.” – NME
The single was released in Italy in 1984 as a 12-inch vinyl. What immediately stands out about the pressing is the complete absence of a record label; it was released as “Not On Label” with the catalog number HAS 1958. We are reissuing the original and also including a few unique interpretations/remixes by A.P. Mono and O.C. Lee. Once again, a true collector’s item! Limited edition pressing of 200 copies.
Melissa Weikart and her piano have proceeded through life in step, from her early classical
training to the experimental practice that defines her work today, a blending of sounds and forms that has never been so clear—and so fully realized—as on her new album, Contact. Across twelve shifting and evocative tracks that examine the connective tissue binding us to ourselves and others, the Franco-American musician’s voice and piano navigate personal and emotional terrain with clarity and nuance, forging a rich dialogue between artist and instrument, artist and self, and artist and listener.
Winner of the 2022 Nancy Jazz Pulsations emerging artist award and the instrumentalist prize at the 2023 La Défense National Jazz Competition, Weikart has released two EPs and an album as a solo artist, and one EP and an album—Surprise and Secret—with her electronic duo Beatrice Melissa. A student of jazz and ’70s folk-pop, and a keen lover of improvisation since her time at the New England Conservatory in Boston, Weikart has always conjured the confessional candor of the singer- songwriter in her music, even as she dispenses her lyrics across rich, shifting, dreamlike tableaux.
On Contact, written and arranged entirely by Weikart (aside from “New angles”), she pushes her sound further than ever before. The album is animated by a pressing need for connection, observing what brings us together and what drives us apart, and the life-saving revelations that emerge along the way. The album’s opener, “Crash,” is a dreamy telephone-hour ode, a message in a bottle, to connections new and old. On the wistful “Mesurer le vent,” Weikart conjures Debussy or Ravel, layering contrasting sounds like an Impressionist painting. The title track begins as a showcase of Weikart’s frank lyricism, a splice-reel of missed connections and wasted time, then glides into a hazy, euphoric galaxy of pleas, circling around her thesis—“I wanted to make contact”—that ushers us into “The Intersection,” a song that recalls her the beginning of her career, when it was just Weikart and her keys. “Appétit.e” is built around a sample of her down-the-hall neighbor’s drumming—another subtle, affecting gesture toward proximity and connection—while pulsating synths reminiscent of Air lend the track an unsteady atmosphere. On the Carpenters-inspired “Expectations,” Weikart muses on the relationship patterns, universal and specific, that have always been a hallmark of her songwriting.
The psychedelic “L’amour de construit” is a slow-motion fall down the rabbit hole, as Weikart
considers the way her own emotions are captured and commodified by the confining ways we think about love. The interlude—“L’amour pt. 2”—finds her near the end of that trip, shouting into the void as a last-ditch effort to rescue herself from the fall. The drums near the end of the interlude warn us that there may be no cushion for, until she is saved, again, by the power of revelation, on the confident, resilient “Not Right”—on which a show-stopping, frenetic conversation between singer and piano is gracefully interrupted by a rush of transcendent strings, lifting her back up.
On solid ground anew, “New angles,” featuring Manu Delta, creates a percussion-less groove that relies on experimental synth sounds. The 11-o’clock stunner “Catching up”—composed in a church—meets the singer in a state of ecstatic confession, bringing her to the formative memory that propels “Bicycle,” the album’s closer. Younger, more wide-eyed, she reflects on her move from Boston to Strasbourg, those early days, when Weikart had no other companion than that loyal hunk of scrap metal that took her to the shores of her own soul. She seems to suggest, on “Bicycle,” that a backward-glance is not always troublesome, not always anxiety-producing, but can be grounding: a reminder of where we come from, so that we can keep moving forward.
Ossie lands back on Heist after his 2025 hit ‘Are U still smiling?’ with a 4 track EP featuring Miraa May.
How on earth do you follow up your debut when that record got dancefloors moving across the world and picked up radio & dj plays from dance music’s finest selectors?
Many producers would get instant writer’s block, but not Ossie. His new EP on Heist is full of joyous melodies, catchy vocals and euphoric dancefloor moments. Across 4 tracks, Ossie takes us on a trip through rolling electronics, catchy UK sounds and big room anthems.
His Heist debut in 2025 did not go by unnoticed, and Ossie kept a busy calendar since, with regular shows in London and Hï Ibiza with Skepta’s Mas Tiempo crew, his own Supercali imprint as well as his appearance alongside heavyweights Louie Vega, Kerri Chandler, Cinthie and more on Heist’s ‘House of House’ much celebrated compilation.
The Motivation EP kicks off with a bumpy UK track that somehow reminds us of Bicep early day hit ‘Vision of love’. Where the Bicep boys went for a big sample, Ossie landed a surprise studio session with Algerian born-London native Miraa May where they wrote ‘Motivation’ in a single session. The track is stripped back to its core with catchy scats and chants from Miraa May and keys that’ll stick with you far after the track is over. If you’d need any extra motivation for your daily routine, to get out of bed or to go out dancing, this is your jam.
‘Can it get any better’ is a loopy house affair with soulful vocal chants, hints of disco and a subtle piano theme that drives the track into big room territory. It’s energetic without ever getting over the top; a thin line Ossie navigates effortlessly on this record.
On the flip, we’ve got ‘Left side’; a deep groover built around a synth & disco loop and cleverly sampled vocals singing ‘I believe… oooh yes I do’. This one is definitely a lowkey banger, where Ossie turns that one simple loop into a powerful theme made to ignite dancefloors.
The EP closes with the heavy warehouse groove of ‘Don’t stop’. A cavernous low end, rough percussion and chopped synth stabs all come together on this beast of a track. Ossie cleverly plays around with vinyl backspins, vocal chops and small changeovers to keep things interesting, while the groove just keeps on going.
Ossie’s ‘Motivation’ EP has dancefloor written all over it and with all its forward energy, there’s no doubt you’ll be hearing this one a lot in clubs all over the world.
To celebrate three decades of a dancefloor masterpiece, Boris Dlugosch’s 1996 classic house anthem "Keep Pushin'" is receiving a 30th-anniversary reissue. Featuring the unmistakable vocals of Inaya Day and production contributions from Mousse T., the track has been revitalised for contemporary dancefloors.
The package introduces stellar new remixes from Soul of Hex and global heavyweight Purple Disco Machine.
For the purists, the B-side revives the revered DJ Disciple & Mousse T. Hard Dub, alongside the sought-after Path Of Dub Mix.This is a definitive, must-have release for collectors and DJs alike.
,Bands Like It When You Yell `YAR!' At Them" war ursprünglich eine Promo-EP von Minus the Bear, die 2002 als Vorgeschmack auf das Debütalbum ,Highly Refined Pirates" erschien. Was als einfache Werbe-CD begann, entwickelte sich schnell zu einem Fan-Favoriten und erscheint 2026 erstmals offiziell auf Vinyl. Die Veröffentlichung zeigt die Band in ihrer frühen Hochphase und vereint ihren charakteristischen Mix aus Indie-Rock, Math Rock, Funk, verspielten Gitarrenfiguren und elektronischen Elementen. Neben frühen Albumtiteln enthält die EP mit ,Drop It Like It's Hot" auch einen exklusiven Song, der die kreative Experimentierfreude der Band eindrucksvoll dokumentiert. Heute gilt ,YAR!" als wichtiges Zeitdokument der Anfangsjahre von Minus the Bear und als perfekte Ergänzung zu ,Highly Refined Pirates", einem der prägendsten Indie-Rock-Alben der frühen 2000er-Jahre. Von Bernie Grundman für Vinyl remastert und mit bei 45 U/min geschnittenen Lackplatten trägt diese limitierte Auflage von 1.000 Exemplaren auf "San Juan Sands" Vinyl dazu bei, die aufregenden Anfangsjahre einer der beliebtesten Bands des amerikanischen Indie-Rock zu dokumentieren und zu bewahren.
There's a moment during every great dance floor experience when the music takes over and everyone becomes part of something bigger. "SHOUT!", the latest release from 2SoulFusion Presents Ascension, captures that feeling in its purest form. Featuring the powerhouse voices and ad-libs of Dames Brown and Dawn Tallman, along with an all-star ensemble of master vocalists including Josh Milan, Rahsaan Patterson, Lisa Fischer, Cindy Mizelle, Audrey Wheeler, Ramona Dunlap, and Lea Lorien, this joyful anthem is an invitation to let go, lift your spirit, and celebrate through music.
Produced, written, arranged, and mixed by 2SoulFusion—Louie Vega and Josh Milan—"SHOUT!" draws inspiration from the communal spirit of gospel while embracing the energy and freedom of house music. Driven by simple yet powerful affirmations—"Shout," "Sing," "Move," "Love," "Get Up On Your Feet," "Listen Up," and "Let This Music Take You Higher"—the song transforms into an experience where every voice becomes part of the celebration. It's a journey of anthemic hooks, soaring harmonies, infectious grooves, and unforgettable melodies designed to ignite dance floors, uplift hearts, and remind us that music has the power to unite people through rhythm, joy, and love.
The inspiration for "SHOUT!" was born from a creative exchange between Louie Vega and Charaf Tajer, founder and creative director of the internationally acclaimed fashion house Casablanca. Introduced by longtime friend Joseph Capriati, Charaf shared a bold vision—to bring together the worlds of fashion, gospel, and house music for one unforgettable Casablanca runway presentation in Paris.
Louie Vega recalls: “Charaf was introduced to me by my friend Joseph Capriati, who said Charaf was looking to meet me about an idea he had. His vision was to marry fashion, gospel, and house music within Casablanca's collection. At first, he wanted me to DJ and play gospel house music. I said, 'Instead of playing existing music, why don't I create an original song with a gospel house flavor?' I immediately got together with my 2SoulFusion partner Josh Milan, and together we came up with 'SHOUT!'”
That vision came to life during Casablanca's spectacular Paris presentation inside a breathtaking cathedral, where Louie Vega premiered the original twelve-minute and nine-second composition live. As the music echoed through the cathedral, Dames Brown joined the London House Gospel Choir in a soul-stirring performance while the models walked the aisle on Casablanca's carpet made of their signature green color and a dashing vibrating giant mirror echoing the runway visually. Renowned DJs Luciano and Chloé Caillet were among those who walked the runway, while friends of Charaf Tajer and special guests—including Jaden Thompson, Folamour, Dimitri From Paris, Kapela, and many others—were in attendance, making it an unforgettable gathering where music, spirituality, fashion, and culture merged into one extraordinary experience.
Inspired by that magical evening in Paris, Louie Vega and Josh Milan returned to the studio to expand the original composition into the powerful recording heard today. Built around rich live musicianship, Josh Milan's keyboards, organ, piano and synth bass provide the foundation alongside Axel Tosca's expressive grand piano recorded live, Sherrod Barnes' soulful guitar, and Gene Perez's unmistakable bass groove. Together they create an infectious, organic driving sound that allows the vocals to soar while delivering the unmistakable musical depth and musicianship that define 2SoulFusion.
Leading the celebration are Dames Brown and Dawn Tallman, whose commanding performances are elevated by an extraordinary choir of world-class vocalists. Dames Brown's spirited sermon and ad-libs, and Dawn Tallman’s powerful ad-lib vamping out together with the soaring harmonies of Lisa Fischer, Cindy Mizelle, Audrey Wheeler, Rahsaan Patterson, Ramona Dunlap, Lea Lorien, and Josh Milan, recreate the feeling of a joyful gospel congregation—not confined to four walls, but alive on dance floors around the world. Every chorus encourages listeners to get up, listen up, feel it, sing, move, love, and become part of the experience. Recorded between Honeycomb Studios in Pennsylvania, The Hub Ibiza and Manhattan Center Studios, New York City, and mixed at The Hub Ibiza, "SHOUT!" reflects the continuing vision of the Ascension project, where spirituality, musicianship, community, fashion, and dance music become one.
Stoked to announce the debut record by Faulsk on Ruff Kutz!
Sometimes life can feel cyclical and having the first solo release on the label by someone other than myself had to be the right choice, it just so happened to be the producer from Tāmaki Makaurau / Auckland, which is where I started my lifelong obsession with Electronic music.
Shortly after playing a gig together at Whakamana in late 2024, we started exchanging tunes and I immediately wanted to put a release together with the first track he sent.. The release also features 2 collaborative tracks with myself and consists of 4 deep psychedelic grooves across the tempo ranges, built with the sound system in mind. This is an outrageous debut EP, and I am stoked to have it on Ruff Kutz!
Whilst having a low social media profile and only a few tracks released into the wild, Faulsk seems to have carved out a honed in sonic identity. Mixing Techno and Dub production techniques whilst still having swagger and depth that appeals to the bass heads. Expect expertly crafted soundscapes, interesting loopy grooves, lush evolving pads/stabs and low end wizardry. Genre - Faulsk, just how we like it.
Galvanize was the first track to build the EP with a relentless 4x4 groove, perfectly balanced low end and washy atmospherics, the track gradually evolves to show that less is more sometimes - with it's use of stripped back restraint and negative space to create energetic mood shifts.
On the A2, the first collaboration track Exhalation slows the tempo to 100 BPM for some kind of bass mutation straight from the underworld. This one taps into the tense atmospherics of Galvanize whilst cranking up the intensity with evolving drones and razor sharp percussion to sit amongst the dense soundscape.
The title track on the flip, is a 9 min roll out, reminiscent of early Forest Drive West. The subtle modulation and dubbing on musical parts draws you in and is a nice juxtaposition to the crunching percussion, militant groove and precise low end. Chugging away at 115 BPM, this is a versatile track to inject some kinetic energy into your local underwater dancehall.
Closing out on the B2 we have another collaboration. Upping the tempo to the mid 120s, Retrospect sinks deeper into hypnotism with polyrhythmic grooves and an unresolving feel which creates steady momentum, coupled with lush and evolving synth work which take the track into serenity. Regulate your sound system.
Nicola Conte & Gianluca Petrella’s 2021 brilliant collaborative jazz dance album People Need People channelled a vision of togetherness and used the universal language of music to elevate our spirit during these trying times. This vision can’t be more relevant today and the album’s legacy is kept alive with the same spirit of collaboration that distinguished the project.
“Inner Light” - featuring Raashan Ahmad on vocals - is the first song from the album chosen for a series of reinterpretations of the project that will be released throughout 2022. Joaquin Joe Claussell needs no introduction, the Body & Soul founder and Sacred Rhythm label honcho is a true legend and purveyor of spirituality – a cosmic messenger that brings us two versions of “Inner Light”; his work here is not to be solely intended as a remix but, as the title suggests, delivers two new proper versions of the original song.
This EP is the first in a trilogy of 12” releases that will also feature further reinterpretations of tracks taken from the “People Need People” album, by none less than Anthony Nicholson, DJ Spinna and Tall Black Guy!
Italian percussionist Umberto Vitiello takes us on a journey into a vanished world. Mixed by Italian techno master Donato Dozzy, the album draws on memories spanning decades, including Vitiello's years living on Yarakh Beach on the outskirts of Dakar, Senegal. There, the rhythms of daily life flowed with the tides: fishermen launching their pirogues at dawn, griots and vendors gathering beneath three towering palm trees, and the Atlantic Ocean providing a serene soundtrack.
Named after the Lébou people whose fishing culture has shaped the coastline around Dakar for centuries, the record is both a tribute to a community that welcomed Vitiello as one of their own and a reflection on what has been lost.
Those years left a profound mark on both his life and his music. Yet this is not simply a work of remembrance. It is also a meditation on change.
Today, the beach that inspired these recordings has been transformed by pollution and environmental decline. Where fishing boats and palm trees once stood, a sculpture by Senegalese artist Serigne Gorgui Mbaye now depicts two giant ears facing the sea-a reminder of the need to listen: to one another, to nature, and to our own conscience.
Blending percussion, atmosphere and storytelling, the album revisits formative experiences from the 1980s through the perspective of the present day. Featuring vocal contributions from Olympia Ndiaye, Anna Caragnano and Mariangela Morais, and guided by Dozzy's spacious, immersive mix, it unfolds as a deeply personal journey through memory, place and transformation.
From a Beaumont Bar is Pug Johnson's third full-length album and his most complete collection of heartbreak songs to date. Rooted in classic country storytelling, the record draws from the bars, backroads, and late nights that shaped him, turning years of lived experience into songs full of regret, humor, longing, and hard-earned perspective. Written with the benefit of hindsight, these stories don't try to rewrite the past—they simply tell it. From barroom anthems and dancehall shuffles to slow-burning ballads, From a Beaumont Bar captures the moments after love has gone wrong, when all that's left is memory, acceptance, and another round. While Beaumont, Texas provides the backdrop, the album's themes reach far beyond one place. It's a record about heartbreak in all its forms, told with the wit, warmth, and honesty that have become Pug Johnson's calling card. Rich with pedal steel, fiddle, accordion, and timeless country grooves, From a Beaumont Bar is both a tribute to traditional country music and a reminder that the best songs don't just tell stories—they make you feel like you've lived them.
Dusky return to Anjunadeep with their forthcoming studio album ‘Signals’. The London duo first debuted on Anjunadeep in 2011 with their critically acclaimed album Stick By This. Expanding the boundaries of deep house and UK club music, the record marked the beginning of Dusky’s rise as one of the scene’s most respected acts. Their breakout track ‘Careless’, released via Aus Music, further cemented their reputation, amassing more than 14 million streams and becoming one of the defining UK house records of its generation. In 2014, the pair launched their own imprint, 17 Steps, which has since hosted releases and remixes from artists including Nathan Micay, LTJ Bukem, Interplanetary Criminal, Denham Audio and Shed. Since then, Dusky have released two further studio albums, Joy and Pressure, alongside a string of acclaimed singles. Their music has earned support from Pete Tong, Danny Howard and Sarah Story on BBC Radio 1, as well as widespread backing from leading DJs including Jamie Jones, Peggy Gou, Gorgon City, TEED and TSHA. While 'Signals' represents a natural continuation of the Dusky story, it also ventures into more reflective territory than previous releases. The album's wider range of influences and more contemplative mood offer a fresh perspective on the duo's sound, while also paying subtle homage to their acclaimed debut album ‘Stick By This’. Featuring multiple collaborations with vocalist Rromarin, alongside a contribution from Nadeem and Pritt, 'Signals' reflects a creative process that unfolded over many years. Some tracks grew from ideas first sketched long ago, while others emerged more recently, giving the album a sense of both history and momentum. Across its 13 tracks, 'Signals' balances Dusky's club-rooted instincts with downtempo offerings. Tracks such as 'Next Life', 'Kadhalan' and 'Lab' showcase the duo's signature combination of bold basslines, driving rhythms and emotional resonance. Elsewhere, 'Elm' and 'Bindweed' slow the tempo and draw on the warmth of soul, the deeper edges of disco and richly textured live instrumentation.
This compilation took almost four years to come together. For the residency, the band Alexander Flood composed three new pieces, which they developed with the ensemble over two rehearsal days before performing them across three concerts. The core ensemble - Lucy Liebe, Franka Fairy, Tara Sarter, Raffaelo Visconti and Nonny Smith - remained together throughout the summer of 2024, growing into something far greater than just a band. This compilation not only documents the music played by the Residence Band, but also captures the wider story of the other bands that we recorded while they were on tour and who came to the studio with me the following day. Kai appears here after performing at Holidays in 2024. Sonic Interventions recalls a special milestone: the band's first concert outside Berlin, which took place at Holidays in 2023. Sasha Berliner performed at the Jazz Klub, which is illustrated throughout the comic included in this booklet. Benedikt Montiel Mathews joined the Jazz Montez project through a year-long internship and a record we released together. Hind Ennaira led the successor to the Residence Band during a weekend at El Barrio in 2024. However, her recording was not made in Frankfurt, but in Essaouira, Morocco, during a spontaneous late-night session.
Inlcuding: Pressed on high quality 150g vinyl, the record comes packaged in a beautiful cover, designed by artist Verena Mack. It features a 20 page booklet that includes a fictional comic on the making of a Jazzklub.
Includes unlimited streaming of Jazz Montez Presents Vol. III via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Following the acclaimed Milano Undiscovered, Italia Undiscovered and Italia Synthetica series comes Italo International: a new collection celebrating the enduring legacy of Italo Disco. Eight exclusive tracks by established European artists reimagining one of Italy's most influential musical movements with originality, respect, and a contemporary vision.
Italo International is a journey through the many shades of elegant and visionary electronic music, moving between Italo Disco, Synth Pop and dancefloor-oriented sounds. The talented and steadily rising Polish producer Rafał Lachmirowicz, aka Also Playable Mono; Hungarian artist Gianni Durante, aka Electro Potato, who for years has been bringing back the sound of early-Eighties Italo Disco with passion and a contemporary sensibility; Norwegian Tommy Holsen, aka DJ TinTin, who together with the Eighties band Go explores the classic sounds of Nordic Synth Pop; British producer Mark Wilkinson, aka Kid Machine, who for over fifteen years has been creating productions made for the dancefloor; Tyrell Corporation, the alias of Dutch producer Alden Tyrell, who joins forces with Italian duo Italoconnection to rework a track destined to set the dancefloor on fire; Swedish multidisciplinary artist Tobias Bernstrup, who for three decades has been reinventing the more sophisticated side of Italo Disco with elegance and a distinctive vision; the Dutch project Sfera Celeste Project, which blends Moroder-inspired sounds with a hypnotic minimalism reminiscent of Jeff Mills; and, closing the journey, British artists Heartbreak, Ali Renault and Sebastian Muravchik, with a poignant and slow-burning excursion into the melancholic world of Synth Pop.
Klara Lewis’ distinctive talent for disfiguring sound into forms that remain recognisably song-like reaches a new peak here. Her new album Opening is a deceptive recording with veiled melodies and clandestine bangers.
Lewis, creator of worlds, treats music as a mirror that reflects a perspective misaligned with the real image. Her music moves in unusual and often startling ways. Acoustic instruments such as ukulele and piano are subjected to processes of deconstruction and reconstruction, their original forms continually reshaped.
The tracks within Opening offer an array of disorientating tactics; damaged field recordings are suddenly sliced into ominous rhythmical patterns whilst deceptively simple tactics provide foreboding dread. Often alien on entry, the progression of a piece can land in a surprising tenderness, or the other way around. The momentum grows as a physical state but also one which is questioning, desiring, encapsulating a feeling, to explore a further way of expression and ultimately connecting: A new closeness, a new perspective.
Opening is an album in which the protagonist’s manipulation of sonic matter seems to extend beyond the music itself, resulting in a corresponding manipulation of the active listener. Sounds shift, dissolve, and re-emerge in altered forms, creating an experience that feels both intimate and disorienting. Lewis maintains a delicate balance between abstraction and emotional immediacy, drawing the listener into a world where familiar musical gestures are constantly reconfigured in surprising ways.
The works on Opening are refracted through an exploratory and transformative lens, suggesting an artist continuing to redefine the possibilities of musical language as a space where the instantaneous and the eternal come together.
Music by Klara Lewis. Mastered by Stephan Mathieu. Cut by Andreas Kauffelt at Schnittstelle, Berlin. Artwork by Klara Lewis. Design by Klara Lewis & Nik Colk Void. Images from ”En Masse” by Circa, directed by Yaron Lifschitz. Dancer Holly-Rose Boyer.
”Tide” commissioned for compilation album "Dissolving Strawberry" (2020), released by Irrlicht. ”Drip” and ”Feel” originally composed for the film ”Failed Emptiness” (2024) by Mika Taanila.
Murky, dubbed out, loop driven feel showcasing high-octane Techno style with a sturdy rhythm section. Colorcode Records inaugurates its new Keenness sub-label series with a remix package of Roman Lindau’s ‘Raumgestalltung’, featuring reworks from Stanislav Tolkachev, Developer and two interpretations from Myk Derill along a remaster of the original.
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.
For their eagerly awaited third album, the Parisian trio Howlin' Jaws have teamed up with Swedish producer Kalle Gustafsson Jerneholm (bassist with The Soundtrack Of Our Lives and producer for Foals, The Hives, Jose Gonzalez and Junip) and have taken a major step forward, affirmingthe universal appeal of their explosive yet elegant psych-rock. This new album, Living The Dream, crystallises just about everything we'd ever dreamt of hearing from Howlin' Jaws. Here, more than ever, their dreams take the form of unifying choruses, transforming grief ("Troubled Mind") or separation ("Do What You Gonna Do", "So Sorry") into genuine bursts of hope. Rich in texture (with the Omnichord and Mellotron featuring on the spellbinding "Miss You" and the twilight-tinged "Up On The Roof" respectively) and in wit (led by the biting "Living The Dream"), the eleven-track album is equally diverse in its range of influences. Disco looms large on "Terminal Buzz", country creeps in on "Sunset Laundromat", whilst the fiery "Maximum Speed" is a joyful reminder of King Gizzard & The Lizard Wizard's trippy flights of fancy. The trio are stunning when they're in full swing, but just as impressive when they slow the tempo down. Behind its layers of cosmic keyboards, "Time Has Come" immediately sets the scene and subtly invites introspection. Like an echo at the end of the journey, "That Kind of Pain" rubs shoulders with the stars of the French Touch (the Air school), letting the strings of the Stockholm Philharmonic Orchestra burst forth amidst its melancholic swells. All in all, whether he simmers his albums like an omelette or a beef bourguignon, Howlin' Jaws proves he's never short of imagination.
With NIGHTS AFTER VAMP, Magnolia Park have spun an electrifying mix of hard rock, punk, nu-metal, hip-hop and metalcore into a dizzying, multisensory experience. Throughout its 17 songs, the record soundtracks an ominous journey through the fictional world of Nocturne Nexus; where rulers and rebels battle with the future hanging in the balance. Heavily inspired by the band's love of anime, horror and fantasy, the album's narrative was spurred by the long-running Vampire Hunter D, iconic works like Star Wars, Dracula and Joseph Campbell's legendary monomyth. Produced by the band's in-house producers alongside Andrew Wade (A Day To Remember, Wage War), Hiram Hernandez (blessthefall) and Andy Karpovck (408, Taylor Acorn) and mixed by Zakk Cervini (Bad Omens, Bring Me The Horizon) - Magnolia Park soundtrack this dramatic tale of crimson blood and chrome-plated courage through their own mix of man and machine, stacking whirring electronics and industrial undertones alongside sledgehammer breakdowns, walls of detuned guitars and Roberts' seam-splitting vocals.
For their eagerly awaited third album, the Parisian trio Howlin' Jaws have teamed up with Swedish producer Kalle Gustafsson Jerneholm (bassist with The Soundtrack Of Our Lives and producer for Foals, The Hives, Jose Gonzalez and Junip) and have taken a major step forward, affirmingthe universal appeal of their explosive yet elegant psych-rock. This new album, Living The Dream, crystallises just about everything we'd ever dreamt of hearing from Howlin' Jaws. Here, more than ever, their dreams take the form of unifying choruses, transforming grief ("Troubled Mind") or separation ("Do What You Gonna Do", "So Sorry") into genuine bursts of hope. Rich in texture (with the Omnichord and Mellotron featuring on the spellbinding "Miss You" and the twilight-tinged "Up On The Roof" respectively) and in wit (led by the biting "Living The Dream"), the eleven-track album is equally diverse in its range of influences. Disco looms large on "Terminal Buzz", country creeps in on "Sunset Laundromat", whilst the fiery "Maximum Speed" is a joyful reminder of King Gizzard & The Lizard Wizard's trippy flights of fancy. The trio are stunning when they're in full swing, but just as impressive when they slow the tempo down. Behind its layers of cosmic keyboards, "Time Has Come" immediately sets the scene and subtly invites introspection. Like an echo at the end of the journey, "That Kind of Pain" rubs shoulders with the stars of the French Touch (the Air school), letting the strings of the Stockholm Philharmonic Orchestra burst forth amidst its melancholic swells. All in all, whether he simmers his albums like an omelette or a beef bourguignon, Howlin' Jaws proves he's never short of imagination.
Third time’s a charm, or possibly an anomaly. Johannes Volk returns to Running Back for another five exercises in perception, memory and dance-floor physics.
Following Extra Dimensions and Lightweave, this third instalment finds Volk continuing his particular way of making machine music feel strangely human and vice versa.
Shining Force starts somewhere above ground. Gliding across an unfamiliar planetary surface, optical illusions and physical anomalies slowly interfere with the senses. Unknown landscapes,
peculiar vegetation, nature behaving unnaturally: techno as field research. Switching From Bicycle to Spaceship does exactly what it says on the tin, more or less: trading pedal power for propulsion as a deceptively simple groove gathers speed, sheds gravity and quietly leaves the atmosphere behind.
Hidden In Dark belongs to a more immediate kind of archaeology: fog, strobes, bodies and those inexplicably intense emotions that only seem to exist on a dance floor at the right (or wrong) hour.
Back Alley Dancers turns the telescope around and looks backwards. Vocal fragments, pitched, delayed, reversed and removed from their original meaning trigger half-memories of youth, and of
encountering music and culture before you quite understood what any of it meant. Familiar feelings in unfamiliar shapes.
Finally, Drumatury dispenses with introspection and gets down to elementary forces. Morphing bass drums meet a Chicago jacking snare-roll massacre. Drama becomes drumaturgy. Or the other way around.
Five tracks, several states of consciousness, one Johannes Volk. No protective equipment supplied.
Zur Feier des 10-jährigen Jubiläums veröffentlicht LP eine erweiterte Deluxe-Edition ihres vierten Albums,
mit dem ihr der große Durchbruch gelang. Neben dem klassischen Titelsong „Lost on You“ – der kürzlich in
den renommierten „Billions Club“ von Spotify aufgenommen wurde – enthält die neue, erweiterte DeluxeAusgabe den bislang unveröffentlichten Track „Strange (Live at Harvard and Stone)“. Darüber hinaus sind
bisher unveröffentlichte Remixe von „Lost On You“ enthalten, die von DJ Pantelis, DiPap, MANSTA und
Lolos stammen.
„The Traveling Wilburys Vol. 1“ ist das mit einem Grammy ausgezeichnete Debütalbum der Traveling
Wilburys (George Harrison, Jeff Lynne, Tom Petty, Bob Dylan und Roy Orbison) und enthält die Welthits
„Handle With Care“ und „End Of The Line“.
Nach Roy Orbisons unerwartetem Tod kurz nach ihrem Debüt machten die Wilburys als Quartett (George
Harrison, Jeff Lynne, Tom Petty und Bob Dylan) weiter und veröffentlichten ihr zweites Album mit dem
humorvollen Titel *The Traveling Wilburys, Vol. 3*, das die Singles „Inside Out“, „She’s My Baby“ und
„Wilbury Twist“ enthielt.
*Accident of Birth* ist das vierte Studioalbum von Iron-Maiden-Sänger Bruce Dickinson und erschien am
12. Mai 1997. Es war Dickinsons zweite Zusammenarbeit mit Roy Z und unterscheidet sich stilistisch
stark von seinem ersten Album *Skunkworks*. Zudem arbeitete er für dieses Album mit Adrian Smith
zusammen, der zu jener Zeit ebenfalls ein ehemaliges Mitglied von Iron Maiden war. Das oft als eines von
Bruces besten Soloalben bezeichnete Werk brachte die bei Fans beliebten Songs „Man Of Sorrows“ und
„Road To Hell“ hervor.
Released in 2013, Forward features vocal performances by N’Dea Davenport and Dawn Joseph and combines classic Heavies grooves with a polished contemporary production. Highlights include “Sunlight”, “Do You Remember”, “On the One” and “Lifestyle”. Our release marks the album’s first-ever appearance on vinyl. It has been prepared as a high-quality 180g 2LP gatefold edition, cut at 45 RPM. This album will also be reissued as CD Digisleeve
Get Used To It, a “uniformly excellent” album (PopMatters) first released in 2006, marked the return of N’Dea Davenport, whom The New Yorker described as “a lithe dynamo with a sensuous voice and an arresting presence.” Her voice remains inseparable from The Brand New Heavies’ classic sound, “an accessible hybrid of soulful grooves and smooth funk,” as The New Yorker put it
LUCIANO LAMANNA — A CARLO Blackwater Label — 2026 Distributed by Triple Vision More than ten years in the making, A CARLO is a single-sided EP by Luciano Lamanna for Blackwater Label, dedicated to Carlo Giuliani and to the memory of the events that unfolded during the G8 protests in Genoa in 2001. This record is the result of a long process, one that began more than a decade ago and has remained unfinished until now. Two tracks, both carrying the name and memory of Carlo, finally complete a circle that has been open for years. The first track, “Il Giorno del Sole”, was previously released on physical CD through Blackwater Label. The second, “Amore Infinito”, arrives more than ten years later, completing the dialogue between the two pieces and giving the project its long-awaited counterpart. Together, the tracks form a deeply emotional and personal statement: melancholic, haunting and at the same time driving and hopeful. Lamanna moves through the industrial language that has always characterised his work, while “Amore Infinito” explores a darker, more intimate territory, evoking the emotional intensity of Coil. A CARLO is not intended as a historical reconstruction or a conventional political statement. It is an act of memory.
The release follows a run of major live moments, including supporting Frankie and The Witch Fingers at The Garage, standout festival appearances at Wild Paths and Down Stokes, and three packed-out sets at Left of the Dial, including highlight performances at De Doelen and V11 in Rotterdam. Sharing stages with Wine Lips and The Bug Club, Dreamwave have quickly become one of the most exciting and fast-rising live acts in the UK psych scene. Two EPs, one essential 12"-Drifter on one side, Moon Dogs on the flip.
Pekka Airaksinen (1945-2019) was a pioneering figure in Finnish electronic and avantgarde music, known for his highly personal composition systems that merged experimental sound, spirituality, and conceptual thinking. Hevajra (1985), reissued by Other Power (the "sibling label" of the internationally lauded We Jazz Records), captures Airaksinen at his most playful and accessible, blending meditative electronics, cosmic atmospheres, and joyful improvisation into a visionary work that remains unique within the history of Finnish experimental music.
The songs of Jules de Corte are condensed, folky gems with an almost effortless charm. Poised between the intimate and the universal, between lightness and darkness, they touch on religion, love, loss, and the small dramas of everyday life. Yet they resist easy translation. Packed with wordplay, de Corte’s signature alliterations, humor, and local cultural references, the songs inevitably lose something in another language. Still, when a Belgian quartet of improvisers takes them on, joined by American songwriter Bonnie ‘Prince’ Billy, the songs are reborn rather than merely transposed: literal fidelity gives way to interpretation, and what is lost in words is often gained in spirit.
Even without tracing every change, their overall effect is fascinating. Songs are slowed down, often doubled in length, and filled with unexpected musical intrusions. They gain fuller arrangements and are placed in an entirely new context. Replacing de Corte’s piano with guitar can create a radically different vibe, as in “Mariska.” An added solo can heighten the contrast between childlike perspective and the almost matter- of-fact brutality of “Little Anita.” In “The Stranger,” another use of contrast unsettles the everyday harmony, transforming it with a subtle, disorienting twist.
Ultimately, these performances show that interpretation is not successful simply because it is literal. With the groundwork laid by Linus, Bonnie ‘Prince’ Billy further liberated the songs from their original versions. Lyrics and melodies become malleable, shaped by his recognizable cadences, timbre, and personal quirks. Like his collaborators, he allows himself the freedom to bend the material to his own approach. There is no radical break between this performance and his other records. Listeners familiar with the originals may be puzzled at first; for those new to de Corte, it is a wholly different experience.
Does it really matter that the original “Little Jesus, Mighty God” is a 100-second nugget combining playful naivete with biblical fervor? In the hands of these five explorers, the song becomes an intriguing contemplation, with subtle musical shades and a recitation in which every syllable carries a maturity that offers a new perspective. Then there is “The Outsider,” which feels as genuine as any original American folk song. The musicians’ process is more than reinterpretation—it is reimagination, bringing new musical compatibility and emotional depth. Whether that depth was there from the start, waiting to be uncovered, or created in the process is beside the point. What matters is that Linus and Bonnie ‘Prince’ Billy have made the essence of these songs their own, paying homage yet dancing to their own tune.
Linus is the Belgian duo of guitarist and banjo player Ruben Machtelinckx and reedist and synthesiser player Thomas Jillings. Across five previous albums — Onland (2014), Linus + Skarbø / Leroux (2015), Felt Like Old language at the crossroads of folk, jazz, minimalism, chamber music and free improvisation. Their music is adventurous, shaped by a particular sensitivity to texture, timbre and the subtle interaction between musicians.
What began as a duo gradually grew into a flexible musical world, bringing Linus together with musicians such as Nils Økland, Ingar Zach, Niels Van Heertum, Øyvind Skarbø and Frederik Leroux. Yet each new constellation has remained recognisably Linus: music in which carefully considered forms leave space for intuition, interaction and the unexpected.
For their sixth album, Linus takes a new step by moving into the world of song and text. Inspired by a shared love for the late Dutch songwriter Jules De Corte, the album is a reimagining of De Corte’s unique repertoire. More than simply interpreting De Corte’s songs, they absorb and reshape them, bringing them into dialogue with their own musical language. In keeping with this open approach, they are joined by celebrated vocalist Bonnie “Prince” Billy. With albums such as 1999’s I See a Darkness appearing on several greatest album lists, Bonnie “Prince” Billy is a cult figure in the alternative folk scene, and his highly intuitive way of singing seamlessly matches the subtle interplay Linus has developed over more than a decade.
Slammer Weapons EP es la tercera referencia en 12” que firma el artista Colombiano de electrónica oscura, Filmmaker.
Slammer Weapons EP is the third 12” release from Colombian dark electronic artist Filmmaker.
Side A kicks off with “Swordmaster,” a combative track with a syncopated rhythm and a powerful punch. It’s followed by “Power Overturn,” an exercise in oppressive tension and binary rhythm driven by dense synth lines. The EP closes with “Leveling,” a downtempo track featuring acid arpeggios that evolves from an initial lightness into a dense and sophisticated soundscape.
Side B opens with the relentless energy and unrelenting break of “Restoration Quest.” Next, “Knighthood” showcases a rich texture where the percussion blends with highly intense melodic sequences. The EP closes with Dob41’s reinterpretation of “Swordmaster,” who, after an expansive introduction, transforms the original track into an extremely powerful track.
The impeccable mixing and mastering are handled by Dan Böhler, and all the visual imagery surrounding the record is the work of Lucas Salinas.
At the foot of the mountain. Our gaze is inclined toward the summit.
Toward the ascent. The destination that awaits us.
From the valley, we look up at the summit: our destination. But also the path: the true destination.
We can already trace our route, and we are already imagining ourselves walking up there. Along the small ridge, just above the tree line. There, we take a short break and look for the exact spot in the valley where we were standing earlier. It is strange to grasp that we have actually climbed this mountain. To look down from up here at the place where we were just moments ago – the same place we looked up from, toward the place where we are standing now.
And now, knowing what it is like to be up here, we remember what we imagined it would be like back then. What we believed it would mean to stand here.
Along the way, our gaze wanders back and forth. Up toward the mountain, down into the valley, sometimes only at our shoes. We keep walking, one step after another. Our thoughts detached. Our body functioning purely mechanically.
Step left. Step right. Step left. Step right.
Our mind has completely detached itself, and our thoughts race at an immense speed. They summon the most different moments. Moments from our lives. Moments that shaped us, that made us who we are. Or are we perhaps simply trying to understand who we are and how we got here?
It is strange that reaching the summit and looking down could make us believe that we have finally reached, or are striving toward, some superior, triumphant position. When in fact, it is really only about looking at the path we inevitably have to take. Processing impressions from a certain distance. Reconsidering what we have experienced, without losing sight of what lies ahead.
Our gaze turns back toward the summit.
Is there a destination?
An ascent? A summit? A descent? The return?
Or is it only about the insights we encounter along the way?
Am Fuß des Berges. Unser Blick ist zum Gipfel geneigt.
Auf den Aufstieg. Das Ziel, das uns erwartet.
Vom Tal aus blicken wir auf den Gipfel: unser Ziel. Aber auch den Weg: das wahre Ziel. Unsere Route kann man jetzt schon abstecken, und wir stellen uns bereits vor, wie wir dort oben laufen. Über den kleinen Grat, leicht oberhalb der Baumgrenze. Dort machen wir eine kleine Pause und suchen genau die Stelle im Tal, an der wir vorhin noch standen. Es ist verrückt, zu begreifen, dass wir diesen Berg tatsächlich hinaufgestiegen sind. Von hier oben auf den Ort hinunterzusehen, an dem wir eben noch waren – an denselben Ort, zu dem wir hinaufgeblickt haben, als wir noch dort unten standen. Und jetzt, da wir wissen, wie es ist, hier oben zu sein, erinnern wir uns daran, was wir uns damals darunter vorgestellt haben. Was wir geglaubt haben, es würde bedeuten, hier zu stehen.
Unterwegs wandert unser Blick hin und her. Hinauf zum Berg, hinunter ins Tal, manchmal nur auf unsere Schuhe. Wir gehen weiter, einen Schritt nach dem anderen. Unsere Gedanken losgelöst. Unser Körper funktioniert rein mechanisch. Schritt links. Schritt rechts. Schritt links. Schritt rechts.
Unser Geist hat sich völlig losgelöst, und unsere Gedanken rasen mit einer ungeheuren Geschwindigkeit. Sie rufen die verschiedensten Momente herauf. Momente aus unserem Leben. Momente, die uns geprägt haben, aus denen wir geworden sind, wer wir sind. Oder versuchen wir vielleicht einfach nur zu verstehen, wer wir sind und wie wir hierhergekommen sind?
Es ist schon seltsam, dass das Erreichen des Gipfels und der Blick nach unten uns glauben lassen könnten, dass wir endlich eine überragende, triumphale Position erreicht haben oder anstreben würden. Dabei geht es doch eigentlich nur um den Blick auf den Weg, den wir zwangsläufig beschreiten müssen. Eindrücke mit etwas Abstand zu verarbeiten. Erlebtes noch einmal Revue passieren zu lassen, ohne den Blick nach vorne zu verlieren.
Unser Blick wendet sich wieder dem Gipfel zu. Gibt es ein Ziel? Einen Aufstieg? Einen Gipfel? Einen Abstieg? Die Rückkehr? Oder geht es nur um die Erkenntnisse, die uns unterwegs begegnen?
Dani Labb is a thunder bolt. A hardware head whose level of craft is felt instantly. Studio hibernation isn’t for everyone, but for those willing to give it all to the buttons the results can’t be overlooked.
This Argentinian artist has got the sauce, delivering four razor sharp club-focused tracks as the first release from new London label Acrylic Moves. ACMOVES001 is a naughty piece of dance floor weaponry. Scenes change and wackness vultures on, but the presence of fat-offtracks like these on a good system is an easily digested reminder of what truly makes us tick. Dani Labb is that reminder.
Carlos Benedetti, a Colombian house producer and live performer from Cali, has steadily become one of the standout names in today’s underground dance scene. Following multiple vinyl releases on the acclaimed German label Disco Disco, Benedetti’s productions have earned widespread praise and support from respected figures including deep house icon Cinthie.
Specialists, selectors and collectors alike have described his records with comments such as:
“fabulous 12-inch”
“This is the most wild dance record to come out this year so far”
“Cannot formulate the words to capture how this one sounds and makes me feel”
“Listen close and behold.”
With this latest EP for SUPREME STRIKER, Benedetti once again delivers a collection that feels destined to become a future underground classic.
The record opens with Nostalgia Blues, a soulful and deeply textured piece channeling the spirit of Larry Levan’s legendary dancefloor energy, somewhere between disco’s emotional golden age and modern club functionality.
On Bellavista, Benedetti dives deeper into high-energy territory, layering powerful black grooves, hypnotic rhythmic tension and rich percussive movement into something both vibrant and timeless.
Pyramid follows with soaring arpeggios and delicate melodic flourishes, recalling the euphoric sophistication of Todd Terje at his most inspired, while maintaining Benedetti’s raw dancefloor sensibility.
Closing track How High The Moon nods toward Patrick Cowley’s pioneering synth work, injecting the EP with cosmic disco pressure, futuristic funk textures and a strange late-night sensuality.
More than a simple collection of tracks, the EP unfolds as a fully coherent journey through house, disco, Italo and high-energy mutations, balancing emotional depth, machine-driven grooves and timeless dancefloor instinct with remarkable naturality.
"John Beltran joins forces with Ireland’s Intrinsic Rhythm for a masterclass in emotional Detroit Techno with his "Roots EP" featuring a deep & soulful remix from Fireground.
Few names command the same reverence in electronic music as John Beltran. Since pioneering the more melodic, ambient-soaked textures of Detroit techno in the 1990s and 00s, the Michigan producer has spent over three decades crafting electronic music with an unmistakable human soul.
For his latest outing, Beltran links up with Irish imprint Intrinsic Rhythm for a physical and digital release after previously providing a remix for IR004 . The A1 "My Faith In You" is a perfect distillation of his signature sound: lush, cinematic chord progressions, propulsive rhythm arrangements, and that deep-running emotive warmth that makes his catalog timeless and this continues on the A2 with "Gratiot" a timeless piece of Deep Detroit Techno with a shuffling groove and precise tones and textures.
Sharpening the edge of the package is a stellar remix from dynamic Italian duo Fireground. Known for their driving, soulful and rich sound on labels like Tresor and Ilian Tape, Fireground adds a deeper more textured version of "Gratiot" and reconstructs it into a sun drenched musically rich remix. Together, the release forms a beautiful bridge between the two artists. "
Originally released in 1989, “Synthesis” is the debut full-length album by Artefacto, a pioneering Mexican techno-pop band formed in Tijuana by Bola Modelevsky, Roberto Mendoza and Melo Ruiz. With its distinctive blend of electronic rhythms, synthesizers and futuristic pop sensibilities, the album became an important and highly sought-after release within the Mexican electronic music scene. Despite the album’s innovative sound and the interest surrounding it at the time, “Synthesis” was mysteriously held back from a wider release.
“Synthesis” has since become regarded by collectors as one of the essential releases of Mexican techno-pop, with tracks such as “Complejo de Amor” and “Mundo sin Viento” remaining enduring classics. “Mundo sin Viento” was later featured on “Back Up: Mexican Tecno Pop 1980-1989”, the influential compilation released by Dark Entries, helping introduce Artefacto’s music to a new international audience.
The story of Artefacto and its creators did not end with this chapter. Its members continued to explore new musical territories through projects such as Artefakto, Panoptica, Nortec Collective, and Klansoff, continuing their creative journey within Mexico’s evolving electronic music scene.
For this new edition, “Synthesis” has been newly remastered from the original master tapes and is presented on transparent red vinyl, limited to 350 copies and including a reproduction of the original lyrics insert.
Strut proudly presents an expansive deep dive into the world of Quatermass Sound Lab, the prolific under-the-radar East London studio founded and run by producer, engineer and The Heliocentrics co-founder Malcolm Catto. Over the last two decades, Catto has quietly established himself as a sought-after sonic architect in contemporary music. Revered for his analogue-first approach, he has built Quatermass Sound Lab around vintage recording equipment, valve preamps and live performance, creating recordings that feel warm and timeless. Equally inspired by punk, hip-hop, psychedelic rock, jazz, funk and electronic music, Catto has developed a production style that rejects genre boundaries in favour of instinct and atmosphere. Describing himself as "50% musician and 50% listener," Catto approaches each session as a collaborator rather than a conventional producer. That philosophy has made Quatermass Sound Lab a creative home for an extraordinary range of musicians, from established innovators to emerging voices. His remarkable discography spans collaborations with Yussef Dayes, DJ Shadow, Madlib, Quantic, Mulatu Astatke, Orlando Julius, Idris Ackamoor & The Pyramids and countless others, each project using analogue wizardry to shape bold, contemporary recordings with a character all of their own.
Nu Vision is the latest project of Duke Cooper, band leader and label boss of Nation, Kode and DirtyBlends. There are three humans who make up Nu Vision, and they all have their own stories and discographies, records released on labels you might know, gigs played in Chicago or Berlin or someone’s loft, lives lived, friends made, sleep lost - fighting for theirart, standing by truths, defending voices, honoring progenitors, whilst pushing a new paradigm. Time is both fleeting and heavy for us all, but it is not without receipts.
Nu Vision is a band in the classic do-you-believe-in-alchemy sense - equal parts rhythm, damage, and deep feeling. Drenched in nostalgia and futurism, The Seed is a singularity of sound + vision; as if heavily rotated by VJ Dave Kendall on MTV’s 120 Minutes but materialized via today’s technology.
The Seed 10 inch provides additional music inspired significant icons Section 25, Liaisons Dangeruses and Adrian Sherwood having paved the way with their prior successes..- this package of The Seed is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A NU VISION.
The Seed 10 inch provides additional music inspired significant icon band: Section 25 from the period of 1981-1984 with a more electronic-dance direction, process which culminated in the album ' From the Hip ' and remix single "Looking From A Hilltop", both released in 1984 as "Insecure Man is about being true to manhood with Robert Lane leading the charge with his vocabulary message of the current state of society.
Insecure Dub focuses on the period of 1981-1984 with an alternative electronic-dance direction process as an inspired blueprint from Nu Vision inspired from Adrian Sherwood having paved the way with his individual success.
Inspired from electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) reinforced by Krishna Goineau’s French and Spanish Speech-Attack-Lyrics Liaisons Dangereuses created a unique style anything other than a Berlin or Düsseldorf ‘thing’ – that was propelled to an international underground phenomenon of fame.
Nu VIsion was inspired to create a blueprint from the period of their productions of 1981-1982 with an electronic-dance direction paying homage with passionate craftsmanship utilizing what equipment was possible in the studio at the time of this recording featuring new members; Zoe Murphy & Fletch The Stranger on vocals and James Chazz on Saxaphone with a Ring Modulator.
Powerhouse vocalist Sandra St. Victor returns with Eleven, her eleventh studio album and first solo release in over a decade. From her years with The Family Stand to collaborations with Roy Ayers, Curtis Mayfield, Chaka Khan, Prince and Lalah Hathaway, Sandra has built a remarkable career that has consistently blurred the lines between soul, funk, jazz and gospel.
Executive produced by Sandra St. Victor and Patrick Gibin for Mother Tongue, Eleven brings together Sandra's longtime collaborators alongside the Mother Tongue family, bridging her rich musical legacy with a fresh, forward-looking sound rooted in soul, jazz, boogie and soulful dance music.
The album combines brand new compositions with inspired reinterpretations, from Kaidi Tatham's stunning reimagining of Captain Sky's Moonchild and his masterful reinvention of the Leon Ware/Syreeta underground gem Tiki Tiki Donga, to a beautifully understated new version of Sandra's own Dizzy, originally released on Gemini: Both Sides in 2001 featuring Questlove, Roy Ayers and Donald Byrd, here reimagined by Mark de Clive-Lowe. Along the way, the lo-fi soul of Black Ice, the timeless duet No More Water featuring Lalah Hathaway, and the straight-up funk of Makes Me Wanna Fall In Love Again and What Would Miles Do showcase an artist continuing to evolve while remaining true to her artistic voice.
Rooted in experience yet driven by curiosity, Eleven bridges Sandra's remarkable musical legacy with the creative vision of Mother Tongue, resulting in an album that feels both timeless and unmistakably
We are delighted to welcome back one of our most cherished artists, Life Recorder, for the third instalment of his remarkable Time Moods series on Visions Recordings.
This latest release delivers four vibrant and immersive tracks, blending deep techno textures with refined grooves, another strong statement in the series.
Far from the hype, French DJ and producer Kriss, aka Life Recorder, has been steadily shaping a distinctive sonic identity over the years. Deeply influenced by the heritage of Detroit and Chicago’s house and techno scenes, his sound travels effortlessly across genres while remaining rooted in soulful depth.
Born in the French suburbs of Geneva and now based in Marseille, he began his journey in the 1990s, connecting with music through record shops, DJing, and the evolving club culture of the time.
With this third chapter of Time Moods, Life Recorder continues to craft a timeless and introspective musical narrative.
Longtime Do It Now favourites Club Squisito are back alongside vocalist Fre Monti for a warm, emotionally-charged deep house cut that will soon worm its way into your affections. The original is an unhurried blues ballad that builds into a thumping groove with Monti's haunting vocal work threading through with real feeling. Emiliano S. remixes it into something jazzier and hard-swinging, complete with a clever half-speed breakdown, while Nutty Nys opens the flip with a tasteful, vocal-led broken-piano hook. Pigsie closes things out with a four-on-the-floor banger that taps into early-2000s deep house energy.
You know the pattern: someone calls their album "Balearic," and you immediately expect chill-out terraces, pan-flute samples, and the umpteenth return of the Café del Mar sunset. Devi G. refuses this reflex almost maliciously. The title is a trick—an invitation to disappointment for those hoping for postcard exoticism. What is actually being negotiated here is erosion, but that of the body itself: the abrasion one inflicts upon oneself in the excess of the night, when partying turns into wear and tear, and a rush becomes a graze that only becomes visible in the morning. No backdrop, then, but a wound one has voluntarily acquired.
Instead of the usual Ibiza xylophones, Devi G. digs into the rift between idyll and wear. The result reads like a séance—less José Padilla, more as if Kevin Martin had re-recorded a Manuel Göttsching record on a dying four-track deck. The target area lies somewhere between the waterlogged ambient sketches of Huerco S. and the faded dub-afterglow of Actress, but Devi G. remains consistently on his own, grainier frequency.
Balearic Abrasions (title track) opens without haste, demanding almost without impatience: no motif, no rhythmic handhold, just a slowly tilting balance between warm texture and rough surface. The grain never feels forced—it is not a lo-fi costume, but an integral part of the statics themselves. Where other ambient producers strive for perfection, Devi G. consciously seeks the breaking point. Rhythm remains a tool, never an ambition. Those expecting quick resolution will be disappointed; those willing to listen will receive a depth effect that is rarely this vivid.
Exit Through Thee Gift Shop tips into harder territory: dub-techno reduction meets industrial edge, carried by a stoic kick drum that knows no mercy. Metallic textures slice through the sub-bass, while repetitive chords hypnotize like a defective loop. Central to this is a rare Terence McKenna recording, which functions less as spoken-word ornamentation and more as a disruptive spirit between memory and media archaeology. The title—Banksy reference included—turns this into a biting punchline: radical electronic abstraction positioned against the hyper-commercialized art world.
Morning Depth pushes the claustrophobia further, somewhere between post-industrial and deep-sea dub. The track refuses any peak-time logic, preferring to disintegrate into itself, subcutaneously, methodically. At the end, a casual, almost banal vocal sample (“i defiantly prefer chocolate”) breaks into the cool machinery—a small, profane fissure that makes the coldness of the rest of the piece all the more apparent.
Desiré Algorithmic is the album's most calculated moment: a stoic, repetitive bassline as a foundation, topped with fragile melody fragments that flash like glitches in faulty code. The title reads like a promise from nightlife—a figure that suggests much and delivers nothing, because behind the façade there is simply nothing, only simulation. The track carries exactly this principle: promise without substance, desire without body, just rendering. Only in the final third does a melancholic saxophone break into the sterile structure—organic, imperfect, and for that very reason more credible than everything before it. It is the moment in which the real briefly flashes through the surface of the dummy before it closes again.
All-inclusive Residue concludes the album as sedimentation rather than dramaturgy: dub-techno remnants, industrial patina, salty ambient surfaces that settle rather than compose. The refusal of consumption as a sonic principle—brittle, stubborn, with a gravity that lingers long after.
Verdict: Balearic Abrasions is not easy listening with a sea view, but an exercise in patience and friction. The restraint with which Devi G. avoids climaxes will frustrate some—for everyone else, that is exactly where the record's strength lies. No sunset. Rather, what remains on the rocks afterward.
