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Moulded By Industry is William D Drake's six album, his first for ten years and a return to the richly layered sonic texture and epic production of his majestic Briny Hooves. He is joined by long time collaborators James Larcombe, Dean Gaisburgh-Watkyn and Steve Jackson, with the addition of a new crew member, singer Treana Morris. Moving on from his nine years of pianistic and compositional duties in Cardiacs, Drake's solo work has been known for its synthesis of Mellotron-driven grandeur with a surreal playfulness.

But the deep heart of Drake's work is in its powerful evocation of the landscape of the countryside and its connection with love, longing and loss. To this end, his own enigmatic lyrics have rubbed shoulders with poetry drawn from across the centuries. From obscure sources such as Samuel Spree to the poetry of Thomas Hardy and Rupert Brooke, his settings make old words shimmer with human emotion. The texture of his music also reflects an inspirational lack of concern for distances of time. The earthy breath of his harmonium is interwoven with tones teased from archaic instruments by James Larcombe – hurdy-gurdy, dulcitone and melodeon.

But Drake's sound-world is no museum. Here, ancient words and the timbres of ancient instruments become one with the rush of a moment's emotion. Moulded By Industry brings this approach a new sonic depth, intoxicatingly shaded by Treana's lush vocal harmonies and underpinned by Steve's rhythm. Dean's evocative guitar textures give an oceanic sense, tinged with Americana, recalling his work with Drake in their alt country band Nervous. These many layers of sound are drawn together into vivid soundscapes by the painterly mixing of producer Ott. Renowned for his work in electronica and dub, Ott's two decades of experience working with artists such as Sinéad O'Connor, the Orb and Brian Eno bring an organic touch here, more akin to the elemental forces of land and sky than grid electricity. More than any of Drake's previous albums, Moulded By Industry reignites the emotional urgency of old texts. The gorgeous single The Flickering Shade, haunted by glimmers of lost possibilities, is set from words by Thomas Ashe. Turtledove's heady evocation of the blissful madness of love sets the words of an anonymous 17th century ballad. above all, the album is a testament to Drake's love of John Clare, 'The Northamptonshire Peasant Poet'. Clare wrote as the centuries old process of enclosure, in which wild and common land was appropriated commercially, was accelerating.

His works, rather than representing simple sentimentality, are passionate love poems to the landscape and cries from a soul reeling from the creeping unfamiliarity devouring it. This sense of the tension between passion and ill-ease has its most potent expression in Green Shadows. The brooding, slow-tempo energy of Steve's drums drive a horizon-wide lament, alternately lulled by Treana's vocal textures and made restless by James' plaintive hurdy-gurdy and the emotive pull of Dean's slide guitar. The present moment is also a time of enclosure, both metaphorically, as our lives, memories and emotions are drawn into the commercial space of social media, and literally as land and water are swallowed by vast data centre developments. Moulded By Industry celebrates a regained sense of being in the moment in the landscape, in life and in love. The album closes with the utterly delightful single Love In The Universe. The kind of song that could make a cynic use the word 'joyous' without irony, this Harry Nilsson-esque romp reassures us, with a wink, that 'in an infinite universe everything has its place ... even the human race'.

,Sharp Pins" ist das äußerst starke Lo-Fi-Pop-Projekt des talentierten Musikers Kai Slater aus Chicago, bekannt von Lifeguard und Dwaal Troupe. Aufgenommen von Kai Slater. Abgemischt von Kai Slater. Gemastert von Amy Dragon. Aufgenommen im Stülo Gulo in Chicago, Illinois. Ursprünglich als Hallogallo-Kassette im Eigenverlag veröffentlicht. ,Youth Revolution Now". Von Kai: ,Der Soundtrack zu meinem 18. Sommer, in dem ich mit einem chinesischen Taotao 50-ccm-Roller durch die Gegend um die Taqueria Moran fuhr und meinen Sta-Prest-Träumen nachjagte. Ich dachte, es wäre cool, eine Reihe von Songs aufzunehmen, die nie wirklich aufgenommen wurden, und zwar auf eine etwas durchdachtere Art und Weise. Aufgenommen auf einem Tascam Porta One im alten Beton-Stulogulo mit einer imaginären Band namens ,Men in Green Striped Trousers". Der ursprüngliche, von Sharp Pins geprägte Garage-Pop-Sound in seiner ganzen rohen, rauen und kreischenden Pracht _ Ich glaube, ich habe davon etwa 50 Exemplare angefertigt. Nun gehört mein Teenagertraum Ihnen.".

Blume returns to James Tenney's Postal Pieces with a second volume: the three Swell Pieces and Koan, written for Alison Knowles, Pauline Oliveros, La Monte Young and Malcolm Goldstein, on vinyl for the first time from one of the key suites of 20th Century avant-garde music.

In 1970, James Tenney (1934-2006) reversed the entropy of his own life and went west. After spending the majority of the post-war years at the centre of cultural ferment in New York, he accepted a position at the newly inaugurated California Institute of the Arts (CalArts), alongside Allan Kaprow, Simone Forti, John Baldessari, Nam June Paik, Alison Knowles, Morton Subotnick, Harold Budd and Charlemagne Palestine. While the move began an enduring period of relative obscurity, Tenney quietly remained one of the most distinct and groundbreaking composers of his generation, producing a remarkably focused body of work inquiring after the elemental character and perception of sound.

Among the most celebrated of his efforts are the Postal Pieces, a suite of eleven compositions completed in 1971. Citing his strong dislike of writing letters, Tenney sent his friends short scores on the back of postcards. The eleven pieces are composed around three themes: his concept of swell form (utilizing repetition and progressing through a structurally symmetrical arch), intonation, and the desire to produce "meditative perceptual states."

Composed for a group of friends - the visual artist Alison Knowles, the composers Pauline Oliveros and La Monte Young, and the composer and violinist Malcolm Goldstein - the four works on this second volume are intimate, poetic and discreet. They were written roughly contemporaneously with the formation of minimalism by many of Tenney's closest friends, and share its elements of chance, durational tone, repetition and constraint, but they approach them on different terms, anticipating the more complex forms of post-minimalism. Rooted in gestalt theory, they are music in which the composer almost entirely disappears, offering greater attention to the artists to whom they were sent and to the subjective experience of the listener.

A student of Carl Ruggles, John Cage, Harry Partch and Edgard Varèse, an active member of Fluxus, a pioneer of computer music at Bell Labs and a collaborator of Carolee Schneemann, Tenney represents a winding thread connecting the entire history of American avant-garde and experimental music. The second collection by Blume attending to the Postal Pieces, recorded by The Barton Workshop under the direction of James Fulkerson, follows the long sold-out first volume (BLUME 022). It comes with exact replicas of the original postcard graphic scores and newly commissioned liner notes by Bradford Bailey.

With 'Songs For Tova' Dolly introduces a brand new producer called Afik Naim. This rough diamond was pulled out of a cave near Jerusalem. He has a cinematic experimental take on what you would call Techno but he is rather hard to classify to be honest. Exactly what we like, somebody who stands out with his typical sound pallet! Another perfect player on this 'Songs For Tova' team is the never disappointing Kassem Mosse with a killer remix to wrap up this high class 4 tracker!

Keroxen presents Spandauer Damm 103, a new album by Dancelwerk.
Bringing together modular systems, worn drum machines and digital synthesis, the record nods directly to the first decade of Warp Records and the early logic of bleep culture.
Dancelwerk is a Tenerife-based electronic pioneer and one of the foundational figures of the Canary Islands underground. Active for over 30 years, Spandauer Damm 103 marks both a personal milestone and a renewed point of focus, reaffirming his role in shaping the region’s electronic lineage. The album draws on 1990s electronic futurism, filtering those references through a contemporary production approach rather than nostalgia.
The music moves between places and periods: from the early rave circuits of southern Tenerife, where Dancelwerk built his reputation through DIY releases and warehouse-level experimentation, to his later relocation to Berlin, famously arriving with a shipping container of vintage synthesizers and modular equipment.
Balancing melody and impact, Spandauer Damm 103 sets custom-programmed percussion against detailed sound design. FM, spectral and wavetable synthesis shape its harmonic and textural focus, resulting in music that remains physical without sacrificing clarity.
A long-standing practitioner reconnecting with his roots while pushing the system forward.

I hope you will enjoy it as much as I do!

Jonah Ellis came to the Drifters as a guitarist but was soon singing with the group and acting as their musical director.

This multitalented musician/ songwriter hailed from DC where he was born on 25 August 1947 and grew up to graduate from Springarn, Senior High in Washington.

He went on to study further at Morris Town Junior College in Morris Town, Tennessee.

Then he received a BA degree in Music from Knoxville College in Knoxville, Tennessee, and a Master of Arts in Music from Michigan State University in East Lansing, Michigan.

His first move into recording came with his group Jonah and the Whales and ‘Savannah Sun’ which sold well locally by didn’t chart nationally.

Jonah’s second single ‘I Get Hot/ Popcorn Cellar’ on Viking Records in 1970 had similar results but he was writing great songs and creating a lot of interest. In addition to penning Yarbrough and Peoples big hit ‘Don’t Stop The Music’ in 1980 which hit platinum.

Jonah was writer/ producer at Total Experience Records where he found time to cut a single under his own name ‘Christmas Won’t Be Christmas Without My Baby’ and also wrote hits for the Gap Band the biggest hit being ‘Desire’. Jonah only stayed a Drifter for about a year between 1986-87.

A short time later he joined the Temptations as their lead guitarist but didn’t stop writing songs for other artists (sometimes in his pen name Lonnie Simmons) like Alicia Keys ‘Gangsta Lovin’, Puff Daddy ‘Soul Food’, Evelyn ‘Champagne’ King ‘Shame’, Billy Paul ‘Fire In Her Love’and so many more including Aretha and sister Carolyn Franklin, Esther Phillips, Rose Royce and Burt Bacharach.

Jonah continued to write and perform internationally until his untimely death from a stroke on 22 February 2010.

“Simply put, it’s unlikely we’ll encounter a mix that leaves a cultural footprint and defines the sound of a generation quite like Northern Exposure again. Both mixes are absolutely 100% astoundingly brilliant”

DJ Mag

“Their best-loved mix CD is a trippy traipse through the verdant world of progressive house, a genre with one foot in the rave and the other somewhere in the great beyond” Rolling Stone - The 30 Greatest EDM

Albums Of All Time

Originally released on 27th September 1996, ‘Northern Exposure’ is widely regarded as one of the greatest mix compilations ever made. Thirty years on, it sounds as vital as ever - a testament to the fearless vision that went into its creation.

At a time when DJ culture was still writing its own rules, Sasha and John Digweed pushed against the grain. Drawing on sounds discovered during early trips to America - from Rabbit in the Moon to Future Sound of London - they built something that prioritised atmosphere over dancefloor convention. DJ Mag panned it on release. History changed their tune.

Northern Exposure Redux marks the 30th anniversary with a definitive reissue of both original mixes. The CD version also includes a newly created ambient mix. Shaped by the spirit of Bill Laswell and Mad Professor, it explores the deeper, more hypnotic DNA that always ran beneath the surface. Northern Exposure Redux North includes classic tracks by Keiichi Suzuki, The Future Sound Of London, and Banco de Gaia. Northern Exposure Redux South includes classic tracks by Dope On Plastic, Pete Lazonby, and a newly recreated version of ‘Dark And Long (Dark Train)’ by none other than Darren Emerson himself. Both vinyl versions also include a download code for both the North And South mixes, as well as the individual tracks.

Canonical then. Essential now.

“Simply put, it’s unlikely we’ll encounter a mix that leaves a cultural footprint and defines the sound of a generation quite like Northern Exposure again. Both mixes are absolutely 100% astoundingly brilliant”

DJ Mag

“Their best-loved mix CD is a trippy traipse through the verdant world of progressive house, a genre with one foot in the rave and the other somewhere in the great beyond” Rolling Stone - The 30 Greatest EDM

Albums Of All Time

Originally released on 27th September 1996, ‘Northern Exposure’ is widely regarded as one of the greatest mix compilations ever made. Thirty years on, it sounds as vital as ever - a testament to the fearless vision that went into its creation.

At a time when DJ culture was still writing its own rules, Sasha and John Digweed pushed against the grain. Drawing on sounds discovered during early trips to America - from Rabbit in the Moon to Future Sound of London - they built something that prioritised atmosphere over dancefloor convention. DJ Mag panned it on release. History changed their tune.

Northern Exposure Redux marks the 30th anniversary with a definitive reissue of both original mixes. The CD version also includes a newly created ambient mix. Shaped by the spirit of Bill Laswell and Mad Professor, it explores the deeper, more hypnotic DNA that always ran beneath the surface. Northern Exposure Redux North includes classic tracks by Keiichi Suzuki, The Future Sound Of London, and Banco de Gaia. Northern Exposure Redux South includes classic tracks by Dope On Plastic, Pete Lazonby, and a newly recreated version of ‘Dark And Long (Dark Train)’ by none other than Darren Emerson himself. Both vinyl versions also include a download code for both the North And South mixes, as well as the individual tracks.

Canonical then. Essential now.

Ian Pooley returns with a brand-new collection of original productions, delivering exactly what you'd expect from one of house music's true craftsmen.
Road-tested throughout his recent live shows, these tracks have already proven themselves where it matters most: on the dancefloor. Staying faithful to his unmistakable MPC-driven approach, Ian delivers groove, feel and musical restraint in equal measure. Crisp drums, warm sampling, infectious basslines and subtle arrangements come together in a way that only he can deliver.
No overproduction, no unnecessary breakdowns, no gimmicks-just pure, functional house music built for DJs. Timeless, stripped-back and effortlessly effective, this is another reminder why Ian Pooley remains one of the genre's most respected producers.

Celebrating ten years of independent music, Nerang Recordings returns with its sixteenth vinyl release, A Decade of Nerang Recordings - Mix Selections. Bringing together six artists from across the label’s history and extended community, the compilation showcases the diverse sounds that have shaped Nerang over the last decade. Featuring DJ Swagger, Nasty King Kurl, Subjoi, DOS, Low Tape and Moody McIvor, the release moves effortlessly between UK Garage, House, Tech House, Lo-Fi House, Electro and Synthwave while maintaining a clear identity throughout. Since its inception, Nerang Recordings has never been interested in following a single genre, scene or trend. Instead, the label has always focused on releasing music based on quality, individuality and atmosphere. Over the years that philosophy has resulted in a catalogue that crosses stylistic boundaries while remaining connected by a shared spirit. A Decade of Nerang Recordings - Mix Selections serves as both a celebration of the label’s first ten years and a statement of intent for the future. Each track represents a different corner of the Nerang universe, reflecting the sounds, influences and artists that have helped shape the label’s journey so far.

From rolling UK Garage rhythms and club-focused house cuts through to hazy lo-fi textures, cinematic synth work and darker electronic excursions, the compilation highlights the freedom that has always sat at the heart of the label. Rather than being confined by genre expectations, Nerang continues to embrace music on its own terms, allowing each release to find its own identity and audience. While thisrelease reflects on the past decade, it is equally focused on what comes next. The goal remains the same as it was on day one: support great artists, release music without limitations and continue exploring new territory wherever it may lead. Ten years in, Nerang Recordings remains committed to doing things its own way

Electronic mainstays and longtime collaborators Steve Bug and Stefan Braatz return to cult NYC label Nu Groove with the vinyl edition of their four-track EP, Circles. Showcasing a refined blend of new deep house, acid and underground club sonics, the EP opens with ‘Circles’, featuring the Chicago legend Virgo Four whose vocals bring a timeless energy to the record. A driving Beat Mix follows, transforming the original into a tougher, more DJ-ready cut. On the flip, ‘Nu Acid’ dives into raw machine funk and hypnotic pressure, while ‘Thiz Mood’ closes the EP while highlighting the duo’s mastery of tension and rhythmic detail. Rooted in the spirit of classic house while sounding firmly contemporary, Circles EP is another essential addition to the Nu Groove catalogue.

Axis Expressionist Series

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works. Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listeners, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life. Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life".Soundtracks for people in their evolutionary process.

This release 'Drifter' is about 'Hype'.



Hype

An animal that prowls on the vulnerable - it excites those who might be looking the other way or with their eyes and minds wide shut.

What is life without hype?

As a transitional tool, hype can be most effective especially when impulse reactions are at play. Something of a psychological currency, there is a lot to gain by giving people what they want - the rush that comes with taking part in a process of making something bigger, more successful and more preferred. Even if there is nothing there.

What's wrong with getting exciting about something?

There are only a few rare masterclass cases that have lasted a lifetime.

As Andy Warhol proclaimed that "everyone will be World famous for 15 minutes" rings darkly true in an era when each one of us can be the talent scout, artist, critic, audience.......and then a revisionist, hoping to bring hype back again by reminding people how great the first round felt.

We are all free to use our attention and time anyway we please. This is the freedom we have, right?

In most cases, we wake up and at some point, the question of justification becomes a debate between those who found unconditional solace and those who re-discovered the subject of substance and "kicked the tires".

Should I care if others like or dislike something?

For some, the hype of something never ends. It hardens and becomes part of a foundation like a cement podium. Something to be stood on to speak over all dissenting voices.

Following the instant success and subsequent repress of its inaugural release, Stones Taro’s self-release experiment "Foglore" returns with its second installment, further expanding the captivating universe built in Part 1. Rooted in the same core concept—a seamless blend of dubby, fog-laden sound design and a timeless aura reminiscent of ancient folklore—this four-track EP solidifies the very definition of "Foglore." On the A-side, "Weather Wheel" sets an energetic tone as masterfully mixed, chopped breakbeats seamlessly dissolve into hazy, atmospheric pad sounds. It is followed by "Moss Pulse," a track whose precise sound design acts as a natural hub bridging the worlds of Dub Techno and Dubstep. On the flip, "Whorls Of Smoke" delivers a fresh, hypnotic dance cut driven by an intricate interplay between a half-step groove and tam strikes. Closing the EP, "Acid Fog Ritual" combines sticky acid basslines with a deliberate, low-tempo beat to generate a deeply immersive psychdelia. Expanding on its predecessor while boldly redefining its own boundaries, Foglore#2 stands as a brilliant testament to Stones Taro’s evolving sonic vision.

Repress 2026
The Visions EP is the debut release from London based DJ/Producer duo Suburban Architecture. Drawing heavily on influences from one of Drum & Bass' most innovative and rapidly changing eras, the mid to late 90s, the duo's productions place a contemporary spin on sounds rooted in this golden era of dance music.

This 4 track EP explores a selection of sounds that meet at the intersection of nostalgia and modern production: "Visions '96" fuses atmospheric jazz samples and haunting horns with fractured drums in a manner reminiscent of Source Direct, Photek et al. "Equilibrium" meanwhile gives a modern take on the classic roller, complete with lush synth pads and rolling Amens. On the flip are a pair of jazzy steppers: "Cubic Nature" delivers more lush pads, this time paired with subtle vocals and deep atmospherics whilst "Pulses" brings some bounce to proceedings fusing 80s soul style keys and jazzy horn licks giving stylistic reference to material by the likes of Alex Reece.

Rome, late afternoon, 1974. The light comes in over the colossal hills, the way it only does for an hour before the city forgives itself for the day's noise. Axefield is on an urgent quest to create cinema in the form of sound as a romantic alternative to disposable tools. He is looking for a sound so effortless he is not sure it can truly exist, but only be felt - somewhere between a film score, a heartbeat and a late night dinner at his favourite trattoria.

Ostuni Bound, NOW! is the debut album from Amsterdam-based electronic artist and composer Axefield, bringing club-heavy bass music together with the drama and romance of 70s Italian cinema. The narrative and emotions within the record stem from a romantic setting in Southern Italy that unexpectedly turned violent, forcing Axefield to flee the city after receiving the death threat "non provocare morte".

At its heart is the belief that romanticising life can lead us towards deeper human meaning, offering a different route from the hyper-capitalist pursuit of efficiency that increasingly shapes how we live and create. Throughout the album, Axefield worked through three characters representing innocence, control and destruction, using each as a framework for decisions in production, composition and mixing.

The album features Amsterdam-based rising UKG talent DANN and Johannesburg-based Kamohelo, frontman of Swedish electronic group Off The Meds. It's all starting to feel like cinematic time travel in which beauty is reintroduced in the realm of contemporary dance.

Released on Intercept alongside a beautifully crafted vinyl edition, Ostuni Bound, NOW! feels like the soundtrack to a film that was never shot. Somewhere behind him, a projector he cannot see begins to turn, playing a film for an audience that has not arrived yet.

As they arrive, he is the one who ultimately presses play.

And just like that, Ostuni Bound, NOW! Begins where Rome has always begun: beyond function and beauty and all that lingers in between.

Tronic has a 20-30 year long history with releasing melodic house and techno. While we opted for the more raw sound in the past few years, Christian wanted to go back to his roots and produce more emotive, groovy, and melodic house and techno again. Lamour Toujours is a progressive groover that has a disco-influenced bassline and adds an emotive chord progression in the break. We asked Argentinean legend Hernan Cattaneo to make a remix. As a long time supporter of Tronic we felt that he would be a great candidate for this remix. Hernan Cattaneo and Kevin Di Serna teamed up and delivered a stunning remix focusing on the melodic chord progression of the original! Italian maestro Gai Barone mutates 'L'Amour Toujours' into a stunning, mind-bending interpretation that proves his insane ability to rewrite the rulebook. Meanwhile, Colombian powerhouse Kamilo Sanclemente stays closer to the original, injecting a massive, chord-driven progression built to elevate any room. Three classy, high-caliber remixes. We're absolutely buzzing with this drop.

KYSH returns to wax with its third vinyl release — another milestone in the label’s steadily growing catalogue. More than a year and a half into the journey, KYSH feels more in its element than ever, bringing together five names that represent both the label’s own extended family and fresh acts joining the ranks. All well-established and highly respected figures in the modern techno landscape, they deliver a sharp selection of contemporary club weapons. Kashpitzky opens with “Blush”, a raw, boomy cut where rough-edged rhythmics meet crisp modern production, channeling the spirit of industrial techno at its best. “Tarmac” by Regent follows with a dense, restless groove, while Chontane’s “Gyuto” dives into hypnotic territory, layering rhythmic elements around subtle dissonant melodies. On the flipside, Temudo & Pierce join forces for the threatening, aggressively contemporary “Highest Clarity Grade”, balancing intricate sound design between rhythm and atmosphere. Closing comes GCOD with “Sleeper Agent” — dancing sub bass, a striking hook and a relentless hi-hat groove keeping the weight firmly down low. Another strong statement on wax, KYSH-003 confirms the label’s vinyl output as a mark of quality, with five floor-tested cuts drawing from a fresh, current take on the industrial influences that shaped techno a decade ago. A new lineup, a distinct direction, and five tracks ready to speak for themselves on a proper soundsystem.

Tiger Stripes unveils part one of ‘A Tiger Never Loses Its Stripes’ on Rekids. The series will culminate in the Swedish artist’s sophomore album later this year.

Sweden’s Tiger Stripes, aka Mikael Nordgren, drops the first part of the ‘A Tiger Never Loses Its Stripes’ EP series on Rekids. The EP previews his upcoming sophomore album, his first in two decades, due out later this year, and follows three recent releases and a remix for Dino Lenny on Matt Edwards’ Rekids label.

Tiger Stripes kicks off the ‘A Tiger Never Loses Its Stripes’ EP with ‘Slow’, a snappy groove driven by weighty bass and vocals that are as playful as they are drenched in soul. ‘Twelve’ picks up the pace with irresistible low-end and funky, jazz-inflected key riffs, before ‘Stay Hypnotic’ takes things somewhere more dream-like, pairing shimmering synth sequences with glitched-out percussion and fragmented vocal snippets on the flip. ‘Shape The Future’ closes the first instalment with a squelchy bassline, slightly off-key strings and gorgeous dubbed-out chord progressions, bringing a classy, club-ready finish to this preview of Tiger Stripes’ next album.

Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Kaoz Theory, Kwench Records, and more. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite, returning three times to Rekids since.

Gabriella Cilmi's talents were undeniable from a young age, leading her to sign to Australia's Mushroom Records when she was just 13-years-old. Just a few years later, the breakthrough success of 'Sweet About Me' and her Gold-certified UK Top 10 debut album 'Lessons To Be Learned' took the teenager global. But she discovered that the more success she had, the more she was subjected to countless opinions on what she should do next - an awkward situation for an artist who just wanted to be herself. 'Pure Love' is a record she made having discovered the confidence and freedom to make exactly the kind of album she wants to make: a soulful organic one, on which she could sing from the heart. And it's certainly worth the wait, a triumphant return in which her warm, throaty, unmistakably expressive contralto wraps itself around the deep soul, jazz and classic rock that has always been closest to her heart.

he Congos possess what all bands look for, that unique distinctive sound that draws the listener in. Alongside the great songs, lead singer Cedric Myton's singing, phasing and falsetto voice makes that just the case.
The Congos were formed by Cedric Myton (b. 1947, St Catherine, Jamaica) around the mid-Seventies when the
Rasta message was central to the reggae sound coming out of Kingston, Jamaica. But he had started out in the
Rocksteady era, when he formed the vocal group 'Tartans', taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson and Lindbergh Lewis.They cut 'Dance All Night' (1967) and 'Coming On Strong' (1968). The line-Up became The Royal Rasses and from this Cedric moved on to form the Congos on meeting Roydel Johnson, who had previously sang with Ras Michael and the Sons of Negas. Cedric's Rasta roots were firmly in place when he went to work with producer Lee Perry to cut the seminal album 'Heart Of The Congos' at Perry's just built, Black Ark Studios in 1977. Cedric Myton has carried on the mantle, cutting a set of tunes with the help of his good friend Mr Brent Dowe, who had previously sang lead vocals with the Melodians.This is the Dub set to the vocal album released on the Kingston
Sounds label called 'The Congos Feast'(KS008).With such strong songs, rhythms and vocals it always had the chemistry for a great dub set. Hope you agree and enjoy the dub excursion...

Basic Soul Unit returns with another deadly EP on Dolly, further investigating the thin dividing line between techno and broken beats. A-side "Wallow" is a menacing big room stormer with a delicate pad breakdown, with Voiski providing an alternate more driving techno version of it with a splendid melodic twist midway through the track. "Radiate" and "Joyride" on the B both have BSU's signature rhythmic ideas and fresh energy with "Radiate" even going full-on Broken Rave! "Joyride" is that upbeat funky techno nugget that's going to sit in your DJ bag forever.

Repress.

Step into a journey through time with Lapa Dula's debut album "Agua", proudly presented by the Early Sounds team. “Agua” is a sonic and aesthetic collage, a tribute to the sounds and memories of Naples and its surroundings in the vibrant cultural and social scene of the mid 1980s, not just a reflection of producer’s Alessandro La Padula childhood memories, but also a nod to the myths and legends of Partenope. Written between Rome and Naples and co-produced by label head Pellegrino, "Agua" is the latest addition to the imprint’s distinctive "Mediterranean sound" blending funk, Latin, world music, and disco, with songs like the balearic title track "Agua" and the nostalgic ode to rural life "Sibilla", also inspired by the myth of the Sibyl of Cumae, this album takes you on a journey of emotions and experiences.

From vernacular "Scemanfu", a fun play on the French expression "je m'en fous" (I don't care), to the contemplative "Navigante", dedicated to those who have found solace in the sea or in the virtual world, and the final track "Baibai", inspired by the adventurous and licentious affairs of English nobleman Sir Nathaniel Thorold, who lived on the island of Capri, each song tells a story and adds a piece to this mosaic of sounds, images, and places.

Hip-hop royalty returns—Bun B and Statik Selektah team up once again for the fourth chapter of their blazing collabo-rative saga: TrillStatik 4. Recorded in real-time with that unmistakable underground urgency, this album is a master-class in modern rap chemistry, blending Bun B’s Southern grit with Statik’s boom-bap precision.

The guest lineup is nothing short of legendary. From DJ Premier setting the tone on “Live From Houston,” to Griselda heavyweights Westside Gunn, Conway The Machine, and Boldy James blessing “Trillselda 2,” every track hits with purpose. Regional flair runs deep, too—Paul Wall, Maxo Kream, and Lil’ Keke represent H-Town with pride, while East Coast lyricists like Termanology and Tek bring bar-for-bar fire.

This is more than a record—it’s a cipher of cultures, connecting street narratives, soul-drenched beats, and coast-to-coast talent.

Abacus – Analog Stories Vol.5 delivers stripped-back power, deep textures, and rolling rhythms. A raw statement for DJs chasing soul, weight, and movement.

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Ąnis is a Lithuanian producer and DJ working in the space between broken rhythms and atmospheric weight. His tracks blur the line between club tools and introspective pieces - raw, textured, and unpolished in the best way.

Ąnis’ debut album “I Swear I’m Not Delusional” builds from late-night sketches into fully formed pressure systems. Ambient passages fall into break-driven grooves, each track shifting like a mood swing. It's rooted in tension, repetition, and space - think the grit and movement of early Skee Mask filtered through a more personal, less polished lens. Tracks like “Mountain People” carry warmth without needing to explain themselves, while others feel like they were made at 3am with no lights on. It’s not chasing a scene - just locked into its own pulse. This isn’t background music. It asks you to sit with it - or move to it. Either way, it sticks.

Credits
Original tracks written, produced, arranged and recorded by Jonas Zubavičius in Vilnius. Mastering by Pranas Gudaitis aka audiomastering.lt. Artwork and design by Povilas Baranauskis.

Yuvi Havkin aka Rejoicer returns with an exceptional collaborative album, California Space Craft. On this aptly titled record, he joins forces with seasoned LA bass polymath Sam Wilkes — known for his inspired studio work with Sam Gendel and his dynamic live performances alongside Louis Cole and KNOWER — and drummer Tamir Barzilay, completing the LA-connected trifecta alongside a select handful of key featured guests. The idea for California Space Craft was born out of a series of inspired live sessions in Los Angeles between 2019 and 2022, notably at Listen to Music Outside in the Daylight Under a Tree, where the trio’s natural chemistry first began to bloom. The resulting recordings encompass a wide variety of inspired sound stylings, as one would expect from any of these accomplished artists on their own; however, the sum is truly greater than the parts here, with the fluidity of their freeform improvisations over a dedicated three-day recording session feeling remarkably focused as a cohesive whole. Opening track “Traveling Light” sets the LP’s tone with equal parts Sly & Robbie-style, space echo– drenched rhythms and the cozy kosmische, guitar-led feel of early-2000s genre-fluid explorers like Tortoise. As we continue on to “Ritual in G#,” we are reminded that this is indeed a unique and timeless sonic space the trio has created, as Havkin’s crisp Rhodes chords anchor an ever-evolving psychedelic sound bed. The soaring trumpet of Avishai Cohen adorns the Afrobeat-indebted “Lion Water,” with Barzilay laying down a proper Allen-esque groove, while “Further (with you),” featuring Nitai Hershkovits on keys, offers a defining look at the titular concept of the album — with pure Cali feels coalescing effortlessly into sciNew Release Information fi narrative modes and a proper dose of Rejoicer futurism. Elsewhere, “Her Hair in the Air” shines with fresh polyrhythmic intention, illustrating the balanced bond between the three collaborators at their conversational peak, and the brisk synth strokes of “Early Porpoises,” alongside LP closer “Oceanic Friends” — again ideally named — double as a grand, in-stereo ride into the blissful Pacific sunset horizon. California Space Craft embodies the power of open, collective intention and musical kinship, offering memorable, uplifting moments and an aural glimpse of hope, warmth, and loving melodious calm in an otherwise quite chaotic time for humanity.

One of the beating hearts of the film Hola Frida is its soundtrack, composed by Laetitia Pansanel-Garric in collaboration with Olivia Ruiz. More than just accompaniment, the music is a true extension of its universe: it paints emotions with vibrant sounds and pays tribute to Frida's roots while exploring modern and universal soundscapes.


From Olivia Ruiz's rendition of the original song ‘Hola Frida’ to the
rich orchestral sounds of the Budapest Symphony Orchestra, each note invites you to immerse yourself in an artistic tribute that will appeal to young
and old alike.

Inperimental is a bold return from Lithuanian electronic pioneers Plasma, presenting a meticulously crafted double LP that explores the intersections of techno, ambient, and forward-thinking electronic sound. Every element — sound, structure, and visual identity — is
intentional. This is not a collection of experiments, but a fully realized sonic architecture shaped by decades of experience and analog mastery. This vinyl edition is more than just an audio release — it's a multi-sensory experience.

The gatefold cover and packaging feature hidden artwork that can only be revealed using included red-lens glasses. This visual element isn’t just a gimmick — it reflects the same intentionality that defines the music. With no room for improvisation or trend-chasing, Inperimental is a precisely executed statement in both sound and form. The album blends ambient tones, analogue warmth, and dancefloor rhythms. It demonstrates a refined sound palette: humid techno grooves, cosmic textures, and cinematic depth.

Inperimental is described by the artist as a voyage where technology meets pure emotion — “a realm where warmth intertwines with technology, dreams blur into reality, and pure, authentic sound reigns supreme”. A digital download card is also included with each vinyl copy.

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen!

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen! Dieses frisch grüne Vinyl ist limitiert (100 Stück weltweit)!

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen! Dieses frisch grüne Vinyl ist limitiert (100 Stück weltweit)!

"Cinematic Visionaries Calibro 35 and Noir Master James Ellroy Pay Homage to L.A. with a Pure Crime-Funk Original Soundtrack. Out October 9" There are collaborations that feel inevitable like they were waiting to happen in some shadowed corner of culture. The union between Italian cinematic funk visionaries Calibro 35 and internationally acclaimed master of noir fiction and New York Times bestselling author James Ellroy is undoubtedly one of them. When Calibro 35 were invited to compose the original soundtrack for Francesco Zippel's documentary Ellroy vs L.A., they didn't simply write music for film. They stepped directly into Ellroy's universe the most dangerous corners of American crime fiction and discovered, to no one's surprise, that its darkness felt strangely familiar. The result is Ellroy vs L.A., the band's new album out October 9 on Record Kicks. Twelve brand new tracks of cinematic crime funk, psychedelia, and hypnotic groove that don't accompany Ellroy's world so much as inhabit it. The soundtrack's move through Ellroy's fictional and real-world mythologies with deliberate precision. Stylistically, the album finds Calibro 35 in their most natural yet most cinematic state: crime funk, psychedelia, and hypnotic groove pushed into darker, more narrative-driven territory by the weight of Ellroy's world. From the gloomy, suspense-laden groove of the opener Black Dahlia to the evocative closing piece Moonlight Sonative, the album unfolds as a complete cinematic arc, showcasing Calibro 35 at their very best. L.A. Confidential delivers a super-suspenseful, thrilling tension that feels like a chase through neon-lit streets, while Riots erupts into explosive cinematic funk, capturing chaos and urban unrest in full force. LSD on Sunset Boulevard drifts into a hazy, instrumental soul journey psychedelic, warm, and disorienting, like a late-night hallucination of the city itself. The Big Nowhere (Part I & II) expands the narrative into a slow-burning, atmospheric descent, unfolding like a two-act crime saga. Welcome to the Land of Vacation and Probation hits with kick-ass, uptempo crime-funk madness, urgent and relentless in its propulsion, while White Jazz is a mood of suspended, noir-infused jazz tension cool, shadowy, and unresolved. Together, the tracks map Los Angeles as a fractured yet hypnotic landscape suspended between glamour and violence, beauty and decay, myth and reality Born in Milan in 2007 with the mission of excavating the golden age of Italian film music Morricone, Piccioni, Trovajoli, Calibro 35 have spent nearly two decades transforming that initial obsession into a singular artistic language. Their work bridges vintage Italian soundtracks with contemporary jazz and cinematic funk, earning them a global following rare for an Italian instrumental act. Their music has been sampled by Dr. Dre (Compton, "One Shot One Kill" feat. Snoop Dogg), Jay-Z ("Picasso Baby"), and Damon Albarn's The Child of Lov. Rolling Stone described them as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years," while Far Out Magazine called them "one of the most skilful and innovative instrumental outfits on the planet right now." The band (Enrico Gabrielli, Massimo Martellotta, Fabio Rondanini, and Tommaso Colliva) continue to evolve without losing their core identity. In 2025 they released the critically acclaimed Exploration, further expanding their sonic universe, and were invited to perform at the closing ceremony of the Winter Olympic Games at the Arena di Verona, confirming their growing international stature. With Ellroy vs L.A., Calibro 35 don't just compose a soundtrack they translate a mythology into rhythm, tension, and groove. Between fiction and reality, they find a city that never truly sleeps, only pulses in darkness. Press play, and Los Angeles begins to unfold in sound.

* 2026 REPRESS *
Handed to the legendary Channel One Soundsystem in exclusivity over a year ago, Don Fe's Jericho has been on constant rotation around the globe ever since. Cut to dubplate by Mikey Dread this tune has been securely locked down and spun exclusively as Channel One's last tune at places such as Notting Hill Carnival and many of the soundsystem's international sessions and festival appearances. After a very patient wait Steppas Records are extremely pleased to be able to offer this plate to the world, pressed to 12' vinyl, featuring two new mixes of Jericho and two exclusive cuts of the equally powerful Weep Not.

UK born musician and producer based in Spain for over 20 years, Don Fe's passion since the age of five has been music, classically trained in piano, flute and theory and as from sixteen reggae. From his humble beginnings in the 80s with a 4 track and a TDK D90 his riddims and productions are now being played by the world's most respected sounds - Channel One, Jah Shaka, Aba Shanti, Iration Steppas and many more all over the world.

"Life Is Beautiful Again" is the debut album of Nadine El Roubi, a Sudanese-born, New York-based singer, rapper, songwriter, and multidisciplinary artist.
The album is the culmination of music created over the last three to four years. While the album can be categorized as primarily neo-soul, its true genre remains fluid — shaped by influences in hip-hop, neo-soul,and indie music.

Both melancholic and powerful, introspective and self-assured, Life Is Beautiful Again explores personal and external chaos, womanhood, belonging, and the determination to maintain faith through struggle. Thematically, it marks a shift from her previous work. Where earlier releases were overtly political, defiant, and outward-facing, this album turns inward. It is softer, more reflective, and rooted in the belief that vulnerability can be its own form of strength.

Written and recorded over three years across four cities, the album carries the imprint of many different versions of a Sudanese woman navigating change, loss, love, ambition, and growth, these songs became a way of making sense of the world.
At its core, the album’s message is simple: even through the ugliest of times, life will always become beautiful again.

On Last Night At Marienbad's latest, the imprint brings together three of the brightest souls found within the realms of Jazz, namely Mauricesax, 9ick and Milan93, with their collective talents synergising effortlessly on 'A Garden Between Us', alongside a stellar cast of remixers who add even further delight between the grooves….

As a genre, Jazz has perhaps lent itself the most to other musical universes, in that its curious heart, endlessly experimental nature, and parameter-defying spirit have wrapped itself deep within the core of countless albums, scenes, and music makers. It's a genre that welcomes reinvention, consistently defying its contents and always reaching out to find new methods of expressionism. Electronic music, in its many forms, has truly embraced Jazz perhaps like no other movement of music has, with a truly astonishing array of records surfacing in the past 40 years which have blended Jazz's unique motifs with grooves, chords, and emotive excellence. From 90s Jazz house and UR Techno, through to Future Jazz, downtempo, and Hip Hop, and around many other suns, there remains such an intrinsic and symbiotic relationship between the two musical realms that caters to those who wish to live music both within and out with themselves.

As practitioners of blending electronica and Jazz, few do it like the trio of Mauricesax, 9ick, and Milan93. All three are known for their distinctive soundscapes, yet share commonalities in terms of musical language, feel, and sense of progression. Bringing them together allows for overlaps in their sounds to emerge, and just like Jazz itself, this is where the intrinsicness of sound begins to blossom. 9ick brings his softly evolving vibe to the table, one which was so prevalent and celebrated on his 2025 album 'SMIL'; Milan93 draws from his focal point of exploring fill-laden grooves and a myriad of emotive sensibilities; and Mauricesax draws up his extensive musicality that exists at the corner of jazz, electronic, and experimental music, along with running musical workshops all over the globe.

'A Garden Between Us' represents the trio's core tenets, with this immediately obvious from the record's opener, 'Rhodora'. A gentle solo piano quickly evolves into a series of powerful rhythmic pulses, with brass lines bringing vitality and feel to proceedings. The track shifts gears with purpose, transitioning between musical vignettes of the highest order, with the synth work doing much to bind the transitions together. 'Tulip' emerges slightly differently, with glossy Rhodes tones and an unravelling rhythmic undercurrent setting an enthralling stage. The track flourishes amongst sweeping textures, coming up for air amongst a deeply hypnotic rhythmic section that holds on and never lets up. 'Honeysuckle' lands next, which sees the trio emerge with a boundless, dynamic soundscape. The drums shift within the undertones, as keys, chords, horns and hip-hop vocal samples dance around the pulse, capturing the imagination with their narrative-like placement. Wrapping up the A side comes 'Camellia'. A dazzling array of harmonic sounds converges around the transfixing rhythm section, which emerges from deep below to lavishly roll out over the midsection, with the delicateness of the instrumentation a real highlight here.

The B side features two exquisite remixes, with Pacific Coliseum's version of 'Tulip' landing first. Beginning with a signature four to the floor to get things going, his careful handling of the source material is seen in the tactful introduction of the blissful elements that made the original cut so impactful, with great focus placed on emotive fidelity. The result is a summer-bound house number that reimagines the original in all the right ways, flipping it into a euphoria-driven jazz-laden pacer that reaches for the heavens as much as it drives right into the heart. Teuteu then showcases their take on 'Honeysuckle', and at 9 minutes long, represents the longest cut on the record - and the experience is all the richer for it. Leaning heavily into dance music flavours, Teuteu shifts perspective totally into the realm of the club, with the walls beating hard to the kicks. The sax lines that drift ethereally up top keep eyes closed and souls full, as the dance shifts into the next phase.

An experience that drifts from the daydreaming, to soul-warming through to the club shaking - what else is left to experience, except for 'A Garden Between Us' and how it will brighten up life itself….

A Modern Revisit to a Cult Classic: A fresh "Twentysix Mix" of the 2016 underground staple In Your Body, updated for 2026 dancefloors with contemporary BPM and sharp remaster.

Ten years after defining the early sound of his own label, Berlin-based electronic explorer Cosmin TRG revisits a cornerstone of his discography. In Your Body (Twentysix Mix) sees the Romanian-born producer breathe new life into the 2016 underground anthem that helped cement the Sportiv label's reputation for high-end, functional techno.

This updated iteration retains the propulsive, hypnotic spirit of the original while sharpening the edges for a contemporary club environment. The package is rounded out by the driving, industrial-tinged cuts "Erodat" and "Iradiat," plus an exclusive digital remix by mysterious newcomers TRYL. Delivered as a classic hand-stamped white label, this release continues the Sportiv tradition of marrying stripped-back, high-impact club aesthetics with meticulous sound design.

"Steve Watson's roots lie in Paramaribo, at that time the capital of the Dutch colony, where he won the 1975 Suriname Song Festival. This artist had a very strong connection with the music of his country, although unlike other artists - such as Max Nikman, for whom he acted as vocalist too - he performed his songs in English. Siegfried Boerleider, his real name, moved shortly thereafter to the Netherlands, where he also played in the groups The Backlot (with Laura Fygi and Rowan Moore) and Soul Conference. He released several singles on various labels, shaking off the "kaseko" music genre, which fused many different styles from Africa, Europe and the Americas, but considered rhythmically complex. He took time to move toward a simpler, yet well-structured, melodic genre in the recording studio, producing songs that were enjoyable to listen to on the radio and sensually danced to in the disco. With 1981's "Born To Boogie," we risk a seductive journey into the soul music of Suriname, which also possesses the fragrance of Dutch tulips. Then thanks to its charm, exploded in the Netherlands and subsequently in the world. Steve Watson - in addition to his personal style, rich in that simple and genuine expressiveness - also deserves recognition for his excellent songwriting, which led him to write for other Dutch artists, even though his two best songs are on this vinyl: "May Little One" and "Born to Boogie", ....the latter title has never been more fitting !!! Listen to it and go crazy !!!"

One year after the release of his debut album Harap-Alb, Articulat returns with Harap-Alb: The Reworks – a companion record that continues the story rather than simply revisiting it.

Based on the original album Harap-Alb by Articulat. Reimagined by friends and fellow travelers.

Just as Harap-Alb leaves home, travels through unfamiliar lands, and meets companions who each shape his story, the music has now found new fellow travelers. Eight artists, each with their own signature, reinterpret one track from the original album, transforming it into something entirely their own while preserving the album’s essence.

The result is a richly varied collection that moves between dreamy synth landscapes, nostalgic strings, hypnotic excursions, broken rhythms, and straight-up dancefloor bangers. Every remix reflects the personality of its creator, turning the album into a conversation between artists connected by a shared appreciation for the original work.

If the first Harap-Alb was a personal retelling of a timeless story, The Reworks is proof that stories continue to evolve once they are shared.

Futurismo proudly present a vital compilation born in the shadows of American punk; AMERICAN GRAVE Gothic Punk / Deathrock USA: 1978-1988, the third volume in their Altered Vision anthology series.

Drawing from darkest depths of the American spirit, American Grave is testament to a subculture spawned from late night savagery, graveyard hangouts and suburban isolation. Deathrock, post-punk, goth, whatever term you prefer, this compilation showcases the sounds and aesthetics of a tarnished golden era, an underground movement that took the DIY concepts of punk and the velocity of a burgeoning hardcore scene and immersed it in echoes, distortion, tribal rhythms and macabre vocals, thematically preying upon cult horror flicks, surrealism, and the manipulation of religious iconography. Whilst the UK had a counterpart scene many would hail as Goth, this was different, this was a truly American incarnation, a new breed of youth haunted by the ghosts of old blues, garage and glam, bleak theatrical imagery dressed up to evoke a response, smeared eyeliner, leather, bones…black. This was a backlash against a culture in decay, bucking against a puritanical oppression brought on by the archaic social standards set by their parents. It was aggression manifested as gloom, it was a ceremony, the celebration of death.

American Grave has been co-curated by Wesley Eisold (Cold Cave/American Nightmare/Heartworm Press) in collaboration with Futurismo head honcho Del Jae, to bring you a haunting tracklist ranging from the all important integral mainstays of the genre to those rarer and more elusive artists, including many recordings that have never been reissued before on any format. Featuring the music of Christian Death, T.S.O.L., The Cramps, Of A Mesh, The Gun Club, Twisted Roots, Kommunity FK, The Brainz, Theatre Of Ice, Burning Image, Fur Bible, PSI Com, Shadow Of Fear, Super Heroines, 45 Grave and more.

The music on this compilation is reinstated further from a visual perspective by an array of incredible images by famed punk photographer Edward Colver, and lovingly designed to the level you would expect from a Futurismo release.

2xLP on limited edition ‘Splintered Tomb’ coloured vinyl. It is housed in a gloss laminated outer sleeve with colour inner sleeves and contains a large fold-out poster with unseen photos by the great Edward Colver, words by Lisa Fancher and liner notes by Wesley Eisold of Cold Cave/American Nightmare.