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Bold and raw sounds for adventurous dancefloors

Introducing Mr. Eff. Part myth, part man. Dragging by the arm to safety through digital swamps and haunted houses, The Parallel stands as a singular vision of Miltonian proportions. Small vignettes and passing scenes give way to grandiose and beautiful moments, from the wave-sleaze of Midnight Predator to the pre-credits Suicide-tribute of H E A R T T H R O B, The Parallel works as much for drive time as it does for drifting off to a far off land that is both wonderful and strange. Not to be ignored. Art by Eric. A Lee.

ustice are a French electronic music duo consisting of Gaspard Augé and Xavier de Rosnay. The band's debut album † was released in June 2007 to critical acclaim. The album was later nominated for a Grammy Award for Best Electronic/Dance Album and came in at number 15 on Pitchfork's Top 50 Albums of 2007 and number 18 on Blender's "25 Best Albums of 2007" list.The band's remix of the MGMT song "Electric Feel" won the Grammy Award for Best Remixed Recording in 2009.
The band released its second album "Audio, Video, Disco" in 2011.

This 8 track acoustic guitar album is a big change for the experimental musician Maurizio Abate. After many years of psychedelic albums in which improvisation was combined with a creative recording process, he composed an entire album based on a more traditional method: acoustic guitar solo.
During winter 2014 he organized a series of italian screenings preview of the documentary ' In Search of Blind Joe Death: The Saga of John Fahey' and that occasion encouraged Maurizio to experience the guitar solo language.
After playing these compositions at live shows, Maurizio decided to record the tracks in an almost definitive way, nevertheless the live interpretation of the songs is always different and mutating.
He recorded alone in his house between Christmas 2014 and new year's day on a reel tape recorder, performing acoustic guitar and, in a couple of songs, electric guitar and harmonica. "Loneliness, Desire and Revenge" it's an intimate and confidential album, it evokes moods and emotions of the musician during the past 2 years.

These classic AC/DC albums are made available again, are pressed on quality, 180 gm heavyweight vinyl.
Release date: 14.04.2014
Label: Columbia / Legacy

For the first time in more than a decade, Paul St. Hilaire (AKA Tikiman) presents a solo album – 100% Tiki.

Over his 30-plus year career, St. Hilaire has become one of dance music’s quietly legendary figures. Born and raised in Dominica, he moved to Berlin in 1994 and has lent both his voice and his musicianship to some of the most iconic electronic music from the German capital – and beyond. Renowned for his collaborations with Moritz von Oswald and Mark Ernestus (AKA Rhythm & Sound), he has also appeared on records with Deadbeat, Rhauder, Larry Heard aka Mr. Fingers and Stereotyp (G-Stone Recordings), amongst others.

However, few know the extent of St. Hilaire’s compositional and technical mastery. From his home studio in Kreuzberg, which includes an extensive collection of vintage hardware, self-built instruments and notebooks scribbled with endless lyrics, he has created a vast archive of material spanning ambient dub, avant-jazz, lush techno and lovers rock.

Tikiman Vol. 1 is a heady, downtempo tour de force of patois metaphors on education, displacement and personal vs. global histories, as is evident on slippy album opener “Bedroom in My Bag”: Mister, mister / Where are you going? / I’m heading for a faraway land / What are you having in the bag in your hand? / Help us to understand / He said, I’ve got my bedroom in my bag.

Overall, the album’s lyrics reflect on life between Berlin and Dominica, specifically St. Hilaire’s hometown of Grand Bay, where he has worked with various musicians famous for the island’s different genres of carnival music. St. Hilaire himself always favoured the island’s more “discrete” music, developing a sonic synergy between two different geographical strains of groove and minimalism, and combining them with foundational Caribbean mixing techniques, which provide the basis for his songwriting and distinct
baritone.

Tikiman Vol.1 offers a rare insight into St. Hilaire’s complex artistry, from the eyes-down grooves of “Little Way” and the guitar-heavy digi dancehall experiment “Keep Safe,” to the subtle hypnosis of “Ten to One” and the softly crashing synth waves of closer “Three And A Half”, evoking not only beaches but also coasts and borders. It’s a fitting expression of both the breadth of St. Hilaire’s work, as well as his history as one of the few black, Berlin-based artists who, despite remaining largely overlooked, has influenced the city’s electronic music culture since its beginnings.


Credits
Written & Produced by Paul St. Hilaire
Mastered by Stefan Betke
Artwork by Grant Gibson

Kynant Records was founded in 2015 by Richard Akingbehin, a British-Nigerian radio programmer (Refuge Worldwide), music writer and DJ. Originally specialising in deep techno and featuring artists such as Cio D’Or, Terrence Dixon and Donato Dozzy, Kynant has since launched a sub-label Kynant EX which focuses on ambient, dub and experimental electronics.

In September of 2019, Deliluh took flight with sights set on new horizons.
A long plotted scheme to uproot the group from their Toronto home and
airlift them into the touring bastion of Europe seemed like a pot worth
gambling their stack on.
Their future in the old world was read with wide-eyed optimism, emboldened
by two albums newly waxed and tour dates rolling in. Greener pastures with
foreign allure, a promised land chalk full of experimental art and sound, and a
plethora of unconventional venues ripe for the picking... it’s open season, what
could possibly go wrong?
Well, the best laid plans... ‘Amulet’ is the first release since Deliluh’s departure
from Toronto, an opening document of the group’s transition to Europe. Mirrored images of the same composition occupy each side; ‘A’ performed by their
previous four-piece lineup (Kyle Knapp, Julius Pederson, Erika Wharton, Erik
Jude) and ‘B’ by the current active two-piece (Knapp and Pederson). ‘Amulet’
is set to be released July 30th on 10” via Tin Angel Records.
The lyrics depict a jewel thief committing crimes with the conviction of a merciless zealot, and justifying them with a spite for the status quo. The protagonist
amuses with the threat of being “caught”, a fate seemingly imminent and yet
laughable in the crooked context of societal greed. Knapp delivers sharp criticisms with a swagger liberated of fear, imploring us all to root for the anti-hero
in a time when danger is craved en masse.
The tonal contrasts between both versions testify to the group’s versatility.
The A side pulls tension by way of minimalism, leaning into a sinister synth
sequence that navigates a pitch dark sonic terrain. Swooning guitar, plucking
violin, whispering synths and darting tape effects peek in and out of the periphery, circling with unsettled starkness around Jude’s gloomy bass drone, through
until Wharton-Shukster’s string soaring climax.
Flip to the B side, and the immediate motorik groove turns the sequence on its
head, snapping to a gritty dance track for nights long yearned for. Pedersen’s
modular synth takes on a fresh persona of dusted drums and otherworldly high
hats, cracking on the beat while guitar scratches, processed sax, and string
synths build with harmonic euphoria, all until the tape slips and pulls the rug
from under the DIY dance floor.
‘Amulet’ demonstrates Deliluh’s potential growing fearlessly in the face of a
tight game. They promise a plentiful stash of recordings soon to be unearthed,
giving the sense that their recently tested process of creation has been far from
hindered. What comes next is anyone’s guess, though Amulet at the very least
reassures that we’re still, as always, in trusted hands.
Knapp: “It’s ‘adapt or parish’ these days.. We’re fortunate to be safe and
healthy, and thankfully, we’re not afraid of taking risks or evolving.”
Pedersen: “It isn’t the end goal that matters, but what you learn while exploring the paths that lead into unexplored terrain.”

MASK Records founder ZentaSkai joins forces with Berlin-based creative Laura Merino Allue under the name Cuddling Monsters, a project centered on analog processes and tactile sound design. Debuting in March 2024, the project explores Detroit-infused House, dub Techno, and minimal soundscapes shaped by raw texture and spatial depth. Working exclusively with analogue instruments, the duo prioritise warmth, imperfection, and presence over polish. Alongside her music work, Laura Merino Allue is also a graphic designer, bringing a strong visual identity to the project’s wider aesthetic.
‘Cuddling Monsters' is inspired by real-life experiences — the raw, imperfect, beautiful moments we move through. We believe in staying present, feeling everything deeply, and embracing the analog flow of the now. It’s about living the moment fully — and like a cuddle on the dancefloor, creating a space where sound holds you, warmth surrounds you, and even the wildest monsters feel safe enough to soften.’ -
Cuddling Monsters
The Cuddling Monsters ‘Vol. 3’ EP opens with ‘Bubble Bloom’, a melodic house track featuring warped, filtered synth tones that set a hazy foundation before a dub-leaning beat settles in. It’s layered with aquatic, bubbly textures and fragmented samples, adding warmth and movement. ‘Warm Waves’ shifts into a lighter, more atmospheric space, increasing the tempo slightly while maintaining a restrained, ethereal character. The B-side closes with ‘Secret Signal’, a long-form techno piece stretching over ten minutes, where evolving synth lines gradually merge with soft, dubby drums and analogue percussion, building steadily without excess before easing out.

LEYO returns with his most refined and personal album to date

Following the success of his debut album on Cécille Records, released in September 2024, which surpassed millions of streams and firmly established his signature sound, LEYO now returns with his second full-length LP on the imprint - a project that marks both artistic growth and a deeper exploration of his musical identity.

Building further on that momentum, LEYO followed up with his ‘Circus’ EP, a release that quickly became a standout moment, with the title track ‘Circus feat. Easttown’ gaining strong support and resonating widely across dancefloors and reinforcing LEYO’s position as one of the label’s most exciting and distinctive artists.
Now, with his new eleven-track album, LEYO opens the next chapter.

Featuring collaborations with Thierry Ganz, 3DDY and Native, the project showcases LEYO at his most refined and confident to date. Building on the foundations of his debut, he continues to blur the lines between soulful house, disco-tinged grooves and raw, stripped-back club cuts - all while maintaining a sound that is instantly recognisable as his own. Where his first album introduced the world to his unique blend of influences, this new body of work feels more focused, more mature and emotionally resonant. Each track carries its own weight, with moments ranging from intimate, melodic compositions to high-energy dancefloor pieces - true gems that reveal themselves over time.

The project has been a long time in the making, reflecting a period of artistic evolution and dedication in the studio. It captures not only LEYO’s growth as a producer, but also his ability to craft music that connects both on a personal and collective level.

At Cécille, we are incredibly proud to have LEYO as part of our family. Releasing his second album on the label is something truly special for us, and a testament to the journey we’ve been on together so far.

This album is not just a follow-up - it’s a statement.

Born in Wroc?aw. Known and liked as a member of the Wroclaw-based duo Skalpel. Much less known and liked as the author of several solo albums that illustrate and explore different states of consciousness: Breslau (solo debut released on Ninja Tune) - the frenzy of war, Dream Logic - the meanders of dreams, Delirium - psychedelic hallucinations, Fyodor - religious exaltation and ethical illusions. On the album "Refleks", he explores the state of consciousness of an old digger and beatmaker. He lives in Wroclaw.
About Refleks:

Refleks is tender and free. Of the two meanings of this word in Polish, I choose the one that is a reflection of light on a river. Hypnotic and never monotonous, brilliant and charming, with depth slumbering beneath. The whirlpools we encounter on the album are only slightly cunning; they are rather playful. Although one can look into the abyss, it is not greedy-it allows you to stay on the shore and does not consume you unconditionally.
In some tracks, it even throws you out: you think you're still riding that slide-a tunnel you think is endless-but it ends safely and suddenly in the grass. In the plush. As if a momentary wind carried you away, only to stop at the least expected moment, finding yourself in a completely new yet seemingly familiar space-time-at home, which is not yours, yet not foreign either. While the titles clearly suggest Wroc?aw-based situations, in my opinion, we are moving on a higher level of intimacy and abstraction. On the waves of the ether, the forgotten element of everything that cannot be measured, weighed, or counted. What we know for sure, but might only seem so to us. In the hospitable cosmos of a well-settled head.

"After being praised as one of the best releases of 2025 by multiple platforms, the highly praised debut album from Obeka lands on vinyl via YUKU.

The rhythmic dynamics and emotive attitudes of A World No More captures the density of soundsystem culture in Obeka's ancestral roots. YUKU presents the Bermudians debut album capturing a Neo-Colonial dystopia, protest and Afro-Futurism hyperextended through decaying sonic structures of a dark past and its grievances which very much exist today.

Growing into adulthood within the walls of British and European Colonial systems meant the disconnection and lostness in a new country hid me from the world at a young age. Unlike London's vast and culturally engaging migrant communities, the industrial milling town of Stockport introduced a coldness towards people from other countries I experienced in my first year after relocating from Bermuda. I couldn't understand why. Whether cold words thrown towards me or actions upon other people who look like me, it has shown to be a dooming societal virus with no cure. The most comfort was found through what was familiar - drums and rhythmic spirituality of my homeland. It was a safe-haven, a place to empty the anger and confusion. It's been 15 years since relocating and as my sound evolved, it seems classism, racism, oppression and civil control of ethnic peoples has become worse - even now more legalised and normalised. Ogun (a powerful Yoruba deity associated with anger, justice and war) acts as the opening sequence of the record and its symbolism. Using distorted bass frequencies and dissected Regga-Dub immersed in live-sampled ghostly voices of the lost ones. This sonic exercising is also applied in Drillaman - a stampede of industrial framework and metallic instruments wielded over moody Dancehall MC'ing, magnifying two parallel worlds in cocooned evolution. The resurrection of Transatlantic African cultures and identity have never been silenced, rather carried elsewhere through trade routes of enslavement, which was pivotal when composing and completing the album upon returning home to the Caribbean for the first time ever. After reconnecting with my heritage my blurred vision of what's wrong in the world became so clear. Guidance in empty plains seek truth throughout the pain - A statement of finding oneself expressed on the poetic closing track A World No More.

On Fawohodie (A West African Adinkra symbol that represents independence, freedom, and emancipation stamped on the album cover) the motive and atmosphere begins to change. Afro-Caribbean idealism which refers to the philosophical concept that emphasizes the interconnectedness of individuals and the importance of community, often contrasting with Western individualism, begins to take shape in a new universe. We can co-exist. The track framework uses machine-led software forming frequencies we have no control over, then manipulated through decomposing soundscapes, scattered hand-drums and human-made weapons of control - exposing the hidden disparity that's been carried over generations whilst balancing hopeful and musical foundations towards equality and peace. On Pressure and Kuduro! the writing direction attempts to wake people up. Not settling for a composed approach like in past projects, quite the opposite. A call for native sonic awareness, dismantled vocals of protests, eroded percussion using chains, gears and motorised harmonies sculpted in challenging abstract behaviors far outside my comfort zone. A direct abrasiveness and weight I want people to feel, whilst finding hope and solace through enchanting choirs and hypnotic basslines in complete synchrony.

"Purity in sound manifests when you least expect it. The smallest memory or feeling grows from a seed into a sonic language that you, and only you can interpret and release back into the world." "

To celebrate the 10th anniversary of the iconically brutal-yet-stylish Hotline Miami, the head honchos at Devolver Digital, Dennaton Games and Laced Records picked up the phone and made the call to bring back two killer soundtracks to vinyl.

This Standard Edition of the Hotline Miami 1 & 2: The Complete Collection 8LP box set includes traditional black vinyl.

Every in-game track from Hotline Miami and Hotline Miami 2: Wrong Number is present and correct, including Castanets’ “You Are The Blood” (not previously available via the HM2 Steam soundtrack release.) 76 tracks remastered for vinyl will be pressed to heavyweight LPs that come in spined inner sleeves, contained in a rigid board lift-off lid box with spot UV highlight.

Also included in the box are two 12” art prints of the front and back cover pieces, and a 50 Blessings symbol felt slipmat and metallic sticker.

The box set features brand new eye-exploding artwork by long-time Dennaton collaborator Niklas Åkerblad — aka El Huervo aka Beard — alongside illustrator -IZMA-. El Huervo’s grisly covers depict contradictory accounts of a berserk face-off between Jacket and Biker, replete with entrails. -IZMA-’s disc sleeves explore scenes from the series’ lore, tapping into the violence, psychedelia and nihilism that pervade its characters and themes.

10 years on, neon-soaked indie hit Hotline Miami has become a cultural touchstone in a way that few video games ever achieve — and the electronic soundtracks for both series titles are held up as modern classics that have transcended gaming. At turns brutal and laid-back, pulsating and aimless, coked-up and checked-out, these two ultracool compilations were at the heart of the retro-’80s synthwave scene that swept the Internet over the 2010s.

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.

It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.

Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.

The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

Demilitarize follows Nazar’s remarkable 2020 debut Guerrilla, which reprocessed Angolan kuduro music with rough textures, field recordings and media clips, telling a personal story of the civil war that exiled his family to Europe, while his father, a rebel General, fought a losing battle in the jungle back home. After Guerrilla, and an extended period of serious illness, now Demilitarize is motivated by a reckoning with mortality and the flowering of new love, turning the ‘rough kuduro’ of Guerrilla inside out.This is a deep sound world, genuinely dreamy, the arc of the album describing shedding the armour of trauma and surrendering to this new situation. A constant and unexpected aspect of Demilitarize is Nazar's gentle, submerged vocal. Insistent and mantra-like, it’s like a cross between Elisabeth Frazer, Arthur Russell and Frank Ocean, and the music is fragile and opaque in response. The rhythms of kuduro are still here,but move around his voice like fish around a swimmer, while precise sound design illuminates from different angles. Chords spiral, ripple and shoot through the beats giving tracks the loosest of settings; songs disassemble; vocals float off-centre.

‘Confession' is an album of quiet upheaval. An album about closeness that arrives late and unexpectedly. About stability rubbing up against desire. About the way friendship can suddenly tilt into something charged — and how that charge unsettles everything around it. Where earlier work often observed from a distance, Confession turns inward. The voice is closer, warmer, less shielded. “This wasn’t the album I intended to make,” says Carla dal Forno. “I originally wanted something veiled and abstract, but I realised I couldn’t hide behind abstraction — the songs only worked when I leaned into emotional truth.”

This is dal Forno’s fourth LP, written and recorded over several years in a small country town, in a studio housed inside a partially abandoned hospital. Long corridors, humming lights, emptied rooms — a place built for care and waiting, now quiet enough for thoughts to echo. That stillness shapes the record: intimate, watchful, unadorned. “I live in a small country town that offers a stillness my life didn’t previously have,” she explains. “In that quiet, feelings I might’ve ignored in a busy city grew loud.” Dal Forno sings plainly and conversationally, with an emotional precision that sharpens the everyday into something quietly unsettling.

The album moves through paired states: going out and staying in, wanting and withholding, devotion and distraction. Domestic calm set against private unrest. A long-held relationship offers safety and routine, while a newer connection opens emotional fault lines — longing, jealousy, fantasy, self-exposure. “At the heart of the album is a friendship that became emotionally charged in an unexpected way,” dal Forno says. “That shift brought daydreaming, jealousy, tenderness, confusion, self-awareness — and eventually acceptance.”

The drama here is internal, incremental, lived. Musically, Confession feels lighter on its feet than its subject matter suggests. Melodic basslines anchor the songs while guitars, harmonies, and gently off-kilter rhythms move around them. There’s a looseness, even a playfulness — “like the sensation of tension lifting once you finally admit something to yourself,” as dal Forno puts it. The album traces a subtle arc: attraction blooming where it shouldn’t; obsession quietly taking hold; fantasy overtaking reality; clarity arriving slowly, sometimes painfully. Visually and emotionally, Confession returns to modest spaces: backyards, beds, night streets, overgrown paths. “The record exists in that contrast,” dal Forno reflects. “Peaceful surroundings, unsettled interior.”

Like all of dal Forno’s work, Confession resists clean conclusions. It doesn’t moralise desire or romanticise restraint. Instead, it lingers in the in-between — where love is stable but not total, where yearning teaches as much as it hurts, where solitude becomes a form of care. Plain-spoken but emotionally complex. Rooted and restless. Held together by bass, breath, routine, weather. An album about admitting what you feel —and living with what that admission changes.

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


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

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




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

Limited Silver Vinyl Repress!

Mexican brothers Soul Of Hex are back on Delusions Of Grandeur and deliver an absolute gem of an EP entitled Constellation. With recent releases on Underground Resistance (as Mano De Fuego) and an upcoming release on Kilometro 4.5 which features Mad Mike Banks and Kuniyuki it’s safe to say Soul Of Hex are keeping good company and have earned the respect they deserve through their talent, consistency and hard work.

Leading the charge we have Face Down which is an absolute barnstormer of a track which features a killer electric bass line and low slung dubby disco drums and twisted FX. Simple, powerful and funky AF!

Constellation is up next, picking up the BPM’s for a full on soulful piano house jam which features Javonntte and Mariana Phelts on vocals. Far from being a retro throwback, Soul Of Hex have successfully created a fresh and original slice of feel good, disco-influenced house music while doffing their caps to to the OG maestro Marshall Jefferson.

Next up is Dimension Spell which brings some full on funk vibes to the table courtesy of More Lotion’s heavy guitar work. Euphoric synth pads bring the deep ness while the stripped back beats and punchy Moog bassline ensure maximum dance floor pressure.

Closing out this brilliant EP we have Into The Night, a beast of a tune which fizzes with an understated energy thanks to it’s rolling, minimal groove. In your face syncopated Rhodes stabs skip around the disco drums while a repeating vocal sample brings that top line ear candy.

"Singled Out" kommt als auf 1000 Stück limitierte Doppel-LP auf farbigem Vinyl (LP1 blau / LP2 kirschrot) im Klappcover oder als glänzende CD! Dreiunddreißig Tracks! Alle 7"-Singles der Band bis jetzt! Das sind alle ihre A- und B-Seiten! Mit dabei sind zwei bald erscheinende Singles, von denen eine als kostenlose 7" der nächsten Ausgabe des SAFETY PIN MAGAZINE beiliegt. Die andere gibt's als streng limitierte Lathe-Cut-7". Um Komplettisten zu begeistern oder zu ärgern, wird gleichzeitig eine dritte (Standard-)7"-Single veröffentlicht, deren A- und B-Seite hier nicht enthalten sind. Cyanide Pills veröffentlichten 2009 ihre erste 7"-Single ,Break It Up", gefolgt von weiteren 14 fantastischen 45er-Singles, zuletzt eine Split-Single mit den Schweizer Nasty Rumours Anfang letzten Jahres. Die meisten dieser Veröffentlichungen enthielten exklusive B-Seiten, die auf keinem Album zu finden sind und die Damaged Goods für ,Singled Out" zusammengestellt haben. Schön, sie alle an einem Ort zu haben, oder? Alle Tracks wurden im Billiard Room in Leeds mit dem Produzenten Carl ,Razorblade" Rosamond aufgenommen. ,Einflüsse? Hmm, nun, wir hören nicht nur Punkrock, das taten auch die frühen Bands nicht, weil es noch keinen gab", sagte Leadsänger Phil 2023 im Gespräch mit dem Magazin ,Vive le Rock". ,Wir mögen natürlich die üblichen Verdächtigen, unsere Favoriten sind die belgische Band The Kids, X-Ray Spex und Buzzcocks. Wir mögen Satan's Rats, The Tours, Knots, The Fingers, Panic, Kleenex, Crime, The Terrorways, Victims, Wipers, The Briefs, The Spits, The Plugz, Bad Nerves, Nasty Rumours, solche Sachen, jede Menge Sachen, Syd Barrett, The Kinks, MC5, Stooges, Bowie, Ruben and the Jets, Kim Fowley, John Lee Hooker, Howlin' Wolf. Die Liste geht weiter und weiter und weiter."

After a three year hiatus A Good Christian and Abel return to their beloved Surfing In Kansas label with 4 brand new cutzz..
Throwaway New Wave pop gets twisted into unadulterated Balearic bliss, making it safe to even those who are least in touch with their feelings for a chance to dance. Late night double and early hours trouble guaranteed!

FELT wade deeper into the murky waters of contemporary Scandinavian electroacoustic music following the recent reissue of Johan Wieth’s Health & Safety project on sub-label LEFT and established gems from the likes of Civilistjävel!

Gintė Preisaitė, a Lithuanian artist and graduate of Copenhagen’s Rhythmic Music Conservatory, reveals her first solo release under her own name, following a collaborative effort with Toshimaru Nakamura in 2025 and a number of cassettes as “Baraboro”. The deliberately genre-blurring sound Preisaitė deploys works with composed pop vignettes, sustained drones, FX manipulations and guttural bursts of noise. Sparse piano movements, sample-laden psychedelia and moments of big beat/trip-hop rhythms gel with crowd noise, close mic’d intimacy and experimental percussion with a focus on instrumental timbres and extended techniques.

With a background in composing for large ensembles, Preisaitė's multi-instrumental approach is evident across the eight tracks, moments of dense concrète-style sound collages anchored by the human voice never being far away. She laments on fantasy, absurdity and relationships as a cast of players contribute string, brass, accordion, and guitar parts. Passages move from delicate acoustic folk motifs through to wide-eyed, cut-and-paste glitch electronics and spectral melodic riffs, making the album an unorthodox and welcome addition to Denmark's current world-class music scene.

With its fourteenth release, Barro continues cementing its identity as a techno label unafraid to take chances on fresh voices. This latest offering features Ari Jani —a multifaceted young producer whose unsettling soundscapes pull from a wide spectrum of influences, from EBM's mechanical pulse to harsh noise's abrasive textures.

Ari Jani's early work leaned toward rapid-fire, unrelenting techno, as heard on his SilentSøuls release. Beginning in 2022, his sound underwent a metamorphosis, shifting toward decelerated tempos laden with heavy atmospheres and industrial undertones—a transformation clearly audible in Reject Humanity, Embrace Nonexistence, his EP for Valhalla Records.

His Mass Memory project sees Ari navigating different sonic territories, centering on noise, ambience, and melody, yet never losing sight of the club's pulsing heart.

Includes Groof remix.

Very limited numbers, orders will need to be confirmed.

For his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.

The Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.

Six singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”

The song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.

Wasylyk writes in a room, in his native Dundee, full of “half broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.

Among the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.

The heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write some- thing that was obviously hopeful,” Wasylyk says.

‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”

The album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.”

The Mamas & The Papas were formed by husband and wife John and Michelle Phillips, formerly of The New Journeymen, and Denny Doherty, formerly of The Mugwumps. The last member to join was Cass Elliot, Doherty's bandmate in The Mugwumps. The group considered calling itself The Magic Cyrcle before switching to The Mamas and the Papas as apparently inspired by the Hells Angels, whose female associates were called "mamas".

They released a total of five studio albums and seventeen singles over a four-year period, six of which made the Billboard top ten, and sold close to 40 million records worldwide. The band was inducted into the Rock and Roll Hall of Fame in 1998 for their contributions to the music industry.

The band’s first single, “Go Where You Wanna Go”, was released in 1965. The second single, “California Dreamin’”, was released later in 1965 and quickly peaked in the charts. The band’s album, If You Can Believe Your Eyes And Ears, was released in March 1966 and became the band’s only number 1 album on the Billboard 200. The third and final single from their debut was “Monday, Monday”, which became the band’s only US number 1 hit. The song brought the band international success.

Collected is a perfect overview of the multiple classic hits and tracks throughout the career of The Mamas & The Papas and complimented with several popular tracks by Mama Cass Elliot.

Music On Vinyl proudly presents a special edition of The Mamas & The Papas Collected compilation, which is available as a limited edition of 5.000 individually numbered copies on blue vinyl, and includes a booklet with liner notes.

Undisputed legend of the dubstep scene Commodo collaborates with Jazz aficionado Alfa Mist on Deep Harbour. “I’ve admired Alfa Mist’s work for some time and I had a couple of avenues I wanted to explore using keyboards. One being a darker, dissonant take on a jazz flavoured half-step. The release also features two mixes by Anz. "Anz is a real producer’s producer with a broad range and felt like the perfect remixer.” Commodo has seen support from DJ Mag, Crack, Clash, BBC Radio 1, BBC Radio 6, NTS and played likes of Boiler Room Festival, Outlook Festival Boomtown Festival, Keep Hush and more.

Anthony Hüseyin presents their new album O Geliyor (Making O), in which they return to the rediscovery of their gender, their childhood, and their attachment to Zeki Müren.

Müren is widely regarded as the most important queer exponent in the history of Turkish Art Music (Türk Sanat Müzigi). This genre of music was open to musical hybridism, and Müren himself also included elements of jazz and pop music.
Stylistically, O Geliyor (Making O) is a combination of contemporary discoid electro-pop music, based on Turkish Art Music by Zeki Müren. After successful current re-interpretations of Turkish music styles like neo-Anatolian pop and neo-Arabesk, this album provides a first take on neo-Turkish Art Music.

The album title is referring to the third genderless person pronoun in Turkish called "O", which encompasses all gender possibilities in one word. The album reflects on the memories that haunt us and the indescribable wounds of displacement. Set against the backdrop of Berlin, home to many immigrants and political and queer refugees, it exposes the profound emptiness in a metropolis wishing to imagine itself as a safe haven for the free-spirited, yet always reminding the Other that they don't belong. At the same time, it delivers anthems for the displaced, for the queer migrants who traverse internal and external landscapes in search of a place called home.

Anthony Hüseyin is a non-binary musician and performance artist of Kurdish-Turkish and Arabic descent who works with voice, text, film, dance, and installation. Raised in Urfa in Southeastern Turkey, where they learned traditional local music, they went on to study both classical and jazz singing in Istanbul and Rotterdam. Their works combine the personal and political to explore memory, identity, community, collective consciousness, and the body.

"Lost in the spinning sound" is the 12th studio album by The Dining Rooms (Stefano Ghittoni and Cesare Malfatti) who, over the years, have delved into an original style that balances cinematic atmospheres with funk, dub and ambient music. Here they have invited just one vocal guest, Chiara Castello from I'm Not a Blonde, for a collaboration that delivers a slow, nocturnal, orchestral, very minimalist album, oscillating between folk and blues, with deeply meaningful lyrics that explore the intricate nature of interpersonal relationships. The album cover, an illustration by Sara Vivan, conveys the idea of metamorphosis and invites us to dive into the sounds that surround and protect us. This is also the main message of the album: losing ourselves in order to protect ourselves a little. Drifting along and finding new, safer and more peaceful shores.

Luke Alessi launches Coffee Cola with ‘Yes Empress EP’, a crispy first pour that sets the tone for the label’s mischievous, high-energy ethos. Channelling late night momentum with razor-sharp percussion driven grooves, Luke balances playful experimentation with driving, club intent! Built for the peak-time moments and after-hours alike, Yes Empress makes it clear his label isn’t here to play it safe. Coffee Cola is for people who like their music caffeinated and their decisions questionable.

Limited Silver Vinyl. The Rapture wurde im Frühjahr 1998 von Vito Roccoforte und Luke Jenner gegründet. Mit einem scharfen Ohr für Visionäre wie PIL, Television und Chrome erlangte die Band unter ,Kennern" im ganzen Land schnell einen Ruf für ihre energiegeladenen, oft chaotischen Live-Auftritte; wobei Jenner wie ein auf Steroiden stehender Trottel herumhüpfte, während die Rhythmusgruppe ihren patentierten ,sonic deathfuck groove" zum Besten gab. Im Herbst desselben Jahres wurden zwei Alben aufgenommen: eine LP mit acht Titeln, die auf dem wegweisenden Art-Punk-Label Gravity Records aus San Diego erschien, sowie eine Single, die bei Sonny Kayes Gold Standard Laboratories veröffentlicht wurde. Nach diesen beiden Veröffentlichungen nahm die Band ihre ,Make-it-fucked-up"-Philosophie mit auf Tour und tourte mit Sunny Day Real Estate, Gogogo Airheart und Nuzzle. Im Mai 1999 zog die Band nach New York City um. Matt Safer, der kurz zuvor aus Washington DC zugezogen war, übernahm den Bass. Mit einer solideren Besetzung als je zuvor stürzte sich die Band in die Erforschung von Dance- und Popmusik und erweiterte ihre bisherigen Einflüsse um Chic, The Byrds, The Happy Mondays und Timbaland. Auf der darauf folgenden EP - Out Of the Races and Onto the Tracks aus dem Jahr 2001 - festigte The Rapture ihren ikonoklastischen Stil wild-energetischen Rocks, der sich ebenso sehr an Dance-Musik wie am Post-Punk orientierte.

'Trying Times' is a record about being in love whilst battling the limits of the self against a backdrop of global uncertainty. James Blake explores the tension between intimacy and isolation, the pressure to curate and perform even as everything, inside and out, feels fragile and precarious. Themes of reflection, both literally and metaphorically, run through the record’s visual presentation, as Blake holds a mirror to the contradictions of modern connection - how we see ourselves, how we’re seen by others, and what gets lost in between. It’s about the disorienting loop of joy and dread: feeling safe in love, yet knowing the bubble could burst at any moment; struggling to stay present while global anxiety and private doubt pull you in different directions. A meditation on love, identity, and fragility in an age where the world feels balanced on a knife edge

13 Track Album is James' seventh studio album and first fully independent release Album features British rapper Dave, and singer-songwriter Monica Martin Marketing plan will support long term growth, audience building and connecting with super fans Strong Content Plan including Single / Focus Track Performance Videos Alternative album versions TBC inducing deluxe, piano version and more

Secrets Of Sound slip into electronic erotica with this new and steamy compilation of after-hours disco and sexually charged sounds. Both originals and tasteful reinterpretations of classic tunes from Kylie Minogue, Amanda Lear, La Tour and Enigma feature on this most intimate collection. There is blissed out depth from Ed Temple, Italo melodic flair from Lipelis and sultry vocal allure on System Olympia's 'Signal Your Love.' Elsewhere, Jorja Chalmers casts you adrift on a new age Balearic life raft and Gareth Anton Averill & Sobrenadar closes with the shimmering 80s nostalgia of 'Paris.' Steamy indeed.

FELT enter 2026 with a newly established sub label for reissues, retrospectives and oddball adjacent non-FELT material under the anagram catch-all LEFT. First on the agenda is a vinyl issue of a modern classical tape by Danish post-hardcore/late 2000s rock guitarist Johan Surrballe Wieth, founding member of the band Iceage (Escho/Dais/Mexican Summer/Matador).

Initially released on a limited cassette edition and plucked from the vast catalogue of the Copenhagen label Posh Isolation, the solo project Health & Safety can be read as composers meditation on anxiety, depression, insomnia and all the damned things they entangle. Wieth moves across the spectrum with dour, deliberate keys, mangled drone fx, barely-there violin scrapes, erratic chimes and whistles and with a knowing pace that feels akin to a guiding hand. We’re unsure if the form of each piece is meant to directly correlate to the drug so referenced but the quiet fever dream atmosphere of the 25 minutes also blurs each piece into a whole.

This quote from Wieth certainly rings true for the highly introspective nature of Health & Safety - “You should be very careful listening to too much music when you're writing an album. It has a tendency to become a little too explicit”

Collecting Orders For 2026 Repress

It's safe to say that Mark E is something of a master when it comes to doing a hell of a lot, with not very much at all.
Back in 2011 'Call Me' was heard everywhere, especially the splendid Dixon edit, which teased out the drama and made the most of that spoken Ms Ross vocal.

It's testimony to the staying power of this track, and the fact it's quite rightly regarded as a Deep House classic that it's had a recent revival, largely from Luke Unabomber across his head-spinning summer tour schedule. We started getting video clips from the curious..."Do you know this track, sounds like Carl Craig remixing 51 Days ?"

Given that we sold out the initial run in a matter of days back then, we thought it was high time we put the call in for a reload.
So here you go, the classic 'Call Me' backed with a truly wonderful new jam from Mark, which is another zinger in a catalogue choc full of 'em...

Nervous Gender’s legendary synthpunk LP Music From Hell burbles up from infernal depths to resurface on Dark Entries. Confrontational, unhinged, and unabashedly queer, Music from Hell is an unholy grail for fans of the strangest underbellies of post-punk, minimal synth, and early industrial music, and is presented here newly remastered and on expanded double LP.

Nervous Gender (de)formed in LA in 1978 at the hands of Phranc, Gerardo Velaquez, Edward Stapleton, and Michael Ochoa. Phranc, the androgynous embodiment of the band’s name, left in 1980. Following her departure, a wide cast of LA freaks would find themselves drawn into the band’s orbit, including Alice Bag of the Bags, Paul Roessler of the Screamers, the Germs’ Don Bolles, and an 8-year old drummer named Sven Pfeiffer. In 1980, Nervous Gender appeared on the seminal Live at Target compilation alongside Factrix, uns, and Flipper. With the band’s notoriety cemented, Music from Hell followed in 1981 on Subterranean Records (as no LA label would touch this material).

Side A, dubbed “Martyr Complex”, presents a more punk-forward sound with live drum salvos and slabs of aggressive synth. These twitchy, unsettling shockers ooze with the kind of snotty misanthropy that will endear them to fans of the Screamers or Crass.

Side B, known as “Beelzebub Youth”, is a live performance the band labeled "an electronic bruto-canto dissertation on the banality of spiritual transcendence." Mutant melodies cede way to synthesized clangs, whirs, bleeps, manipulated tapes, and howls of despair.

In addition to all the material from the original LP, we’re treated to a full disc of the band’s demos, the material from the Live at Target compilation, and early live recordings. Included are unrecognizable covers of Carly Simon and Lou Reed, and the Sex Pistols that are so despairingly skewed they fall into the void. This reissue of Music From Hell includes a 36 page lyric booklet, foldout poster, and gatefold sleeve with photos, flyers, and news-clippings designed by Eloise Leigh. Tackling taboo issues like sexual kinks, mental illness, drug use, and childhood molestation, Music From Hell is still surprising – even shocking - over 40 years after the album’s release. Nervous Gender stand as one of the most genuinely anti-establishment outfits in underground music, a colossal fuck you to social norms from religious strictures to gender essentialism.

Made across 2024 between London and Amsterdam, WITH A VENGEANCE (or WAV for short) is the sound of uptempo catharsis, of SHERELLE making sense of a turbulent and difficult moment in time in her personal life. Determined to write one track a day, the studio became a safe space for SHERELLE to channel anger and feelings of betrayal, her hard and fast club tracks turning darkness into the cerebral joy of overcoming adversity. From those intense daily writing sessions has emerged a sharp, finely-crafted 10-track LP that is powered by fierce feminine energy and reflects the hard/soft and light/dark dualities of the dancefloor and life itself.

WITH A VENGEANCE is also a rally cry for the 160 scene, designed to push the tempo in new, exciting and as yet undiscovered directions. Inspired by SHERELLE’s foundational influences such as Kode9, Scratch DVA, Machinedrum, Lone and SBTRKT as well as the soundsystem-shaking groove of grime’s R&G sub genre, the album is designed to change perceptions of what 160 can be. But don’t get it twisted: this isn’t a concept album. WAV is for the dancefloor, delivering shades of London, New York, Detroit and Chicago in ways that are guaranteed to raise gun finger salutes.

Emily Wittbrodt's "Wearing Words" is a cycle of ten instrumentals and songs for harpsichord, cello, drums, clarinet, accordion and tenor. With precision, humor and grace, Wittbrodt translates a baroque sensibility into pop terrain, combining her fascination for language and poetry with her love for unusual instrumentation and classical forms.

For two decades, Hudd Traxx has stood as a pillar of underground house music – a label defined by longevity, taste, and its ability to bridge the old school with the new. To mark its twentieth anniversary, the revered UK imprint presents ‘20 Traxx From The Hudd’, a specially curated, all-new twenty-track compilation handpicked by label founder Eddie Leader.

The compilation brings together a global, star-studded lineup of artists who embody the Hudd Traxx ethos: soulful, inventive, and uncompromisingly underground. Contributions come from Groove Armada, Seven Davis Jr., Chez Damier, Cinthie, Jovonn, Oliver Dollar and others, offering a snapshot of the label’s wide-ranging influence. From the silky deep house depths of Black Loops’ opener ‘Soul to Soul Communication’, to the unmistakable analog warmth across Cinthie’s ‘Hudd House’, to the raw, stripped-back energy of Seven Davis Jr.’s ‘Infrasound’, the collection captures the many deeper shades of house Hudd Traxx has championed for twenty years.

Founded in 2005, Hudd Traxx has served as a trusted home for pioneering artists such as Nightmares On Wax and Matthew Herbert, guided by Eddie Leader’s consistent curatorial vision and unwavering commitment to craft. As a producer, his releases on Classic, Robsoul, and Balance Alliance have been supported by Laurent Garnier, Josh Wink, Disclosure, and many more. ‘20 Traxx From The Hudd’ isn’t just a celebration of the past; it’s a fervent reminder that Hudd Traxx remains as relevant and vital as ever.

Kalani’s debut album ‘Rain Man’ is a downpour of electronic excellence. A spell-binding journey spanning the electronic music spectrum where sound design and composition are at the core of everything. Let the analogue rain fill the lakes and rivers of your soul.

Berlin scene figurehead Gilles Aiken, AKA Edward, coming through with a massive Kalahari debut (and it’s safe to say he understood the assignment).

Booting off on a massive remix tip as the veteran producer reinterprets Mike Parker & Aric Rist’s Trybet project, but trust him to allow for a moment of dancefloor introspection. It’s prime early morning gear in a rousing juxtaposition of beatific string harmony and tough-as-nails deepness. Triumphant ‘window shutters open in the club at 5 AM’-type shit.

The other two are quintessential Edward: impressionistic, widescreen odysseys across lysergic terrain, but groove-forward where it counts. A pair of head-spinning explorations intended for the dancefloor, flush with shadowy flex, insectoid detail and tripped-out flourishes while keeping it funked-out in the tradition of Detroit.

The ‘Deep Sea Villain EP’ plumbs the depths of smudged abstraction, and as we’ve come to expect from Edward, it’s big on hallucinatory detail. It all oozes the multi-layered surrealism that typifies his best work. Proper transcendent biz.

Unitology is here fresh off the stove. The story has been told by Bogota based artist Felipe Buraye who has been releasing steadily on the best international labels for you to check out, while also co-curating his own label called “From the Void Above”. Releasing under Buraye as well as his alter egos “The Voltaic Continuum” and “Dream Architect” allows you to see that there has been an immersive amount of work put in from this artist, therefore there is tons of music available whenever it’s on digital or vinyl format. It can safely be said that Buraye has got your audio needs covered. From A1-B2 the essence of the artist can be felt within his personal style that brings the Unitology to life. The artist has been a close friend of the label for a while so it is an utmost honour to finally have him on board with his signature flavour of music flawlessly executed.

PROMISE is the latest album from Brooklyn-based producer Ibe Soliman, aka Bad Colours. Known for his blend of house, proto-techno, rap, and soul, Bad Colours delivers a dynamic, emotionally resonant record. Driven by hypnotic rhythms and personal storytelling, PROMISE explores themes of vulnerability, desire, and transformation. It's a versatile album designed for both dancefloors and introspective listening.

PROMISE is the fourth LP from Bad Colours on Bastard Jazz, following 2024's collaborative album with Cor.ece, Been Here Before. Soliman's career spans over a decade—DJing alongside artists like James Murphy, Mark Ronson, and Q-Tip, and producing for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross. His work has received support from KCRW, KEXP (including multiple Midnight in a Perfect World mixes), and CBC Radio 3, and has charted on both the NACC Top Electronic and Top 200 charts. Bad Colours has been featured in press outlets like NYLON, Nonderland, Resident Advisor, Electronic Groove, and Fusicology. His music has appeared in Netflix's Escape from Spiderhead, Hulu's Woke, Disney's Chang Can Dunk, Showtime's American Gigolo, Valorant's Rising Stars, and more.

The Éthiopiques series returns! Essential archive recordings from an extremely fruitful period in Ethiopian music.

Before “Swinging Addis” took over the world, there was Moussié Nerses Nalbandian — the Armenian-born composer who shaped modern Ethiopian music. Mentor, arranger, and pioneer, he laid the foundations of Ethio-jazz.

This Éthiopiques volume revives his forgotten legacy, recorded live by Either/ Orchestra First issue ever with new exclusive photos and in depth liner 8-page insert.

“Ethiopian jazzmen are the best musicians that we have seen so far in Africa.
They really are promising handlers of jazz instruments.”

Wilbur De Paris
(1959, after a concert in Addis Ababa)

አዲስ፡ዘመን። *Addis zèmèn* **A new era.**
The time is the mid-1950s and early 1960s, just before "Swinging Addis" bloomed – or rather boomed – onto the scene. Brass instruments are still dominant, but the advent of the electric guitar, and the very first electronic organs, are just around the corner. Rock’n'Roll, R’n’B, Soul and the Twist have not yet barged their way in. Addis Ababa is steeped in the big band atmosphere of the post-war era, with Glenn Miller's *In the* *Mood* as its world-wide theme song, neck and neck with the Latin craze that was in vogue at the same period. Life has become enjoyable once again, with the return of peace after the terrible Italian Fascist invasion of Ethiopia (1935-1941). The redeployment of modern music is part and parcel of the postwar reconstruction. *Addis zèmèn* – a new era – is the watchword of the postwar period, just as it was all across war-torn Europe.
The generation who were the young parents of baby boomers** were the first to enjoy this musical renaissance, before the baby boomers themselves took over and forever super-charged the soundtrack of the final days of imperial reign. Music is Ethiopia's most popular art form, and very often serves as the best barometer for the upsurge of energy that is critical for reconstruction. Whether it be jazz in Saint-Germain-des-Prés or the *zazous* who revolutionised both jazz and French *chanson* after the *Libération*, be it Madrid's post-Franco Movida, or Dada, the Surrealists and *les années folles* that followed World War I, the periods just after mourning and hardship always give rise to brighter and more tuneful tomorrows. Addis Ababa, as the country's capital, and the epicentre of change, was no exception to this vital rule.

**Two generations of Nalbandian musicians**
Nersès Nalbandian belonged to a family of Armenian exiles, who had moved to Ethiopia in the mid-1920s. The uncle Kevork arrived along with the fabled "*Arba Lidjotch*", the** "*40 Kids*", young Armenian orphans and musicians that the Ras Tafari had recruited when he visited Jerusalem in 1924, intending to turn their brass band into the official imperial band. If Kevork Nalbandian was the one who first opened the way of modernism, pushing innovation so far as to invent musical theatre, it was his nephew Nersès who would go on to become, from the 1940s and until his death in 1977, a pivotal figure of modern Ethiopian music and of the heights it. Going all the way back to the 1950s. Nothing less. And it is Nersès who is largely to thank for the brassy colours that so greatly contributed to the international renown of Ethiopian groove. While the younger generations today venture timidly into the genealogy of their country's modern music, often losing their way amidst a distinctly xenophobic historiographical complacency, many survivors of the imperial period are still around to bear witness and pay tribute to the essential role that "Moussié Nersès" played in the rise of Abyssinia's musical modernity.
Given the year of his birth (15 March 1915), no one knows for sure if Nersès Nalbandian was born in Aintab, today Gaziantep (Turkiye/former Ottoman Empire) or on the other side of the border in Alep, Syria... What is certain is that his family, like the entire Armenian community, was amongst the victims of the genocide perpetrated by the Turks. Alep, the place of safety – today in ruins.
Before Nersès then, there was uncle Kevork (1887-1963). For a quarter of a century, he was a whirlwind of activity in music teaching and theatrical innovation. *Guèbrè Mariam le Gondaré* (የጎንደሬ ገብረ ማርያም አጥቶ ማግኘት, 1926 EC=1934) is his most famous creation. This play included "ten Ethiopian songs" — a totally innovative approach. According to his autobiographical notes, preserved by the Nalbandian family, Kevork indicates that he composed some 50 such pieces over the course of his career. This shows just how much he understood, very early on, the critical importance of song as Ethiopia's crowning artistic form. Indeed, for Ethiopian listeners, the most important thing is the lyrics, with all their multifarious mischief, far more than a strong melody, sophisticated arrangements or even an exceptional voice. (This is also why Ethiopians by and large, and beginning with the artists and producers themselves, believed for a long time — and wrongly — that their music could not possibly be exported, and could never win over audiences abroad, who did not speak the country's languages).

Last but not least, one of Kevork's major contributions remains composing Ethiopia's first national anthem – with lyrics by Yoftahé Negussié.
Nersès Nalbandian moved to Ethiopia at the end of the 1930s, at the behest of his ground-breaking uncle. Proficient in many instruments (pretty much everything but the drums), conductor, choir director, composer, arranger, adapter, creator, piano tuner, purveyor of rented pianos,... he was above all an energetic and influential teacher. From 1946 onwards, thanks to Kevork's connexion, Nersès was appointed musical director of the Addis Ababa Municipality Band. In just a few years, Nersès transformed it into the first truly modern ensemble, thanks to the quality of his teaching, his choice of repertoire, and the sophistication of his arrangements. It was this group that would go on to become the orchestra of the Haile Selassie Theatre shortly after its inauguration in 1955, which was a major celebration of the Emperor's jubilee, marking the 25th anniversary of his on-again-off-again reign.

At some point or other in his long career, Nersès Nalbandian had a hand in the creation of just about every institutional band (Municipality Band, Police Orchestra, Imperial Bodyguard Band, Army Band, Yared Music School…), but it was with the Haile Selassie Theatre – today the National Theatre – that his abilities were most on display, up until his death in 1977. To this must be added the development of choral singing in Ethiopia, hitherto unknown, and a sort of secret garden dedicated to the memory of Armenian sacred music, and brought together in two thick, unpublished volumes. Shortly before his death (November 13, 1977), he was appointed to lead the impressive Ethiopian delegation at Festac in Lagos, Nigeria (January-February 1977).

His status as a stateless foreigner regularly excluded him from the most senior positions, in spite of the respect he commanded (and commands to this day) from the musicians of his era. Naturally gifted and largely self-taught, Nerses was tirelessly curious about new musical developments, drawing inspiration from the very first imported records, and especially from listening intensely to the musical programmes broadcast over short-wave radio – BBC *First*. A prolific composer and arranger, he was constantly mindful of formalising and integrating Ethiopian parameters (specific “musical modes”, pentatonic scale, and the dominance of ternary rhythms) into his “modernisation” of the musical culture, rather than trying to over-westernise it. It even seems very probable that *Moussié* Nerses made a decisive contribution to the development of tighter music-teaching methods, in order to revitalise musical education during this period of prodigious cultural ferment. Flying in the face of all the historiographical and musicological evidence, it is taken as sacrosanct dogma that the four musical modes or chords officially recognised today, the *qǝñǝt* or *qiñit* (ቅኝት), are every bit as millennial as Ethiopia itself. It would appear however that some streamlining of these chords actually took place in around 1960. It was only from this time onward that music teaching was structured around these four fundamental musical modes and chords: *Ambassel*, *Bati*, *Tezeta* and *Antchi Hoyé*. A historical and musical “details” that is, apparently, difficult to swallow, especially if that should honour a *foreigner*. Modern Ethiopian music has Nersès to thank for many of its standards and, to this day, it is not unusual for the National Radio to broadcast thunderous oldies that bear unmistakable traces of his outrageously groovy touch.

Straight from Michigan’s underground, Myles Sergé resurfaces on his own (MS) imprint with the FANPRO EP, a stripped, smoking 140g 12" that connects dub techno pressure, hazy dub house and Detroit-rooted machine soul in one focused statement. Known as a “reclusive perfectionist” and low-flying techno lifer, Sergé channels decades of Midwest grit into four cuts that feel raw, intimate and club-ready.
To push things further into the future, he invites a heavyweight remix squad: Toxido Mask, the Berlin sound designer and Tresor mainstay whose hypnotic, cathartic sets have become the stuff of late-night legend; Ackermann, the Stuttgart house-to-techno shapeshifter behind the Safe Space universe; and Myk Derill, a Berlin-based specialist in deep, dub-soaked, industrial-tinged techno.

Each artist takes the FANPRO blueprint and bends it in their own direction: from smoked-out dub chords and creeping low-end to sharpened Detroit stabs and tension-loaded rhythms built for strobe-lit basements. No filler, no throwaway tools, just four uncompromising trips for DJs who still live for the craft.

Tokyo based French producer Laurent introduces his label State of Levitation, dedicated to releasing music that tries to grasp the elusive.

Taking charge of the first release, he delivers 4 tracks unraveling sonic landscapes he resonates with, a blend of styles between techno and electro, dark and bright, with an emphasis on melody and emotional evocations.

Hissing Nest is something like a carnivorous plant growing in the little piss patch just left of the well-beaten earth stage front. It’s something dense, unhygienic and purposefully inconvenient, like a smoker’s mating call for seducing your madness. Rhythms descending and ascending staircases simultaneously, bathrooms with holes cut in the floor so you can see the crashing waves below, or a giant lurching mechanism one loose screw from a total collapse. Sadly there’s nothing here resembling a safe-room, every wall is violently splattered with red paint. It’s a tumultuous space built by one-take analog sessions in the backdrop of murderous, racist, colonial ideologies ever encroaching on the zen garden so desperately needed in the floor plan.
Text about Rank+File:
Rank+File is a record label and event series based in New York City. It exists within and opposed to the empire, focusing on sounds and scenes that both challenge and provide release from its crushing grip. We’re entangled by our common threads, and sewn together by our collective unraveling.

Pingouin Musique, relaunched after exact 30 Years - Founder Zied Jouini
Started his musical career 1992 right in the growing House and Techno era -
Since then he dedicated himself to the underground - Past releases on AFU/ Wavescape/ Music Man
Italys famous dance Label Flying Records, Great Assets URL Underground Label, also a late Force Inc, Traum Schallplatten or his other Imprint Practical Toy and other Project just to name few.

Zied produced a safe House Track with nice portion of underground called Hymn-
He knows how to keep the balance between a Dance Underground rhythms, harmonies and short concise melodies
Very enjoyable on the Dancefloor and at home :)

A1 Original: A classic house bounce with modern finesse and hypnotic effects guide
A2 Jouzie's Give Peace a chance Remix got an electro beat with a slightly breaks touch - a full rich house vibe and a well known Vocal sample in it - Floor Filler
B1 Johnny D Remix - inter alia produced e.g. for Oslo, 8Bit und Cécille, bring up an Absolut rich full tech house groove monster - Johnny D at its best
B2 Danielle Arielli Remix - Founder of Tooflez Muzik delivers a Power House, warm and hypnotic roller with a touch of Acid Remix - Banger!

„Cloudy Eyes (Dance Tonight)“ marks Reznik’s and Jesse Boykins III’s second collaboration. Remember Rez’ remix for Tiga & Hudson Mohawke’s „Silence Of Love“ from last year? Working with Jesse’s vocals struck quite a few chords, so the next obvious move was to produce an original track together. And that one just hits all the sweet spots. Those piano chords. Those string pads and synth arpeggios. This driving rhythmic footing. Quite the ideal sonic environment for Jesse’s soulful croon to thrive on. „Cloudy Eyes (DanceTonight)“ has become a set-highlight of all the Keinemusik members throughout the summer season and the triggered feedback and ID requests have been no less than overwhelming. Safe to say, this is one of the most anticipated tunes of the year and its unmistakable imperative to dance tonight is about to wreak a lot more of the sweetest emotional havoc on dancefloors worldwide.

Hip-Hop-Legende Ghostface Killah liefert mit seinem neuen Album "Set The Tone" eine Mischung aus Tracks, die sowohl das männliche als auch das
weibliche Publikum ansprechen: Eine Mischung aus knallhartem New Yorker Rap und melodischen, entspannten Tracks.
Ghostface hat außerdem mit Hip-Hop-Schwergewichten wie Nas, Kanye West, Ja Rule und vielen anderen zusammengearbeitet.

“sitting in the terminal at Barcelona airport, health safety warnings echo through empty architecture. feeling slow, and fast, out of sync with rituals and routines. structure and rhythm disintegrate into micro gestures appearing in random order, a daily psychedelia... amid all of the chaos and distraction in the last few years, it’s only through letting go that I've found solid ground to stand on.”

These are some of the experiences and reflections that gave shape to Slipstream, a hallucinatory mini-album by the artist PVAS and the fourth release on Objekt's label, Kapsela. Slipstream is an aural document of PVAS's interior life, conceived not as a grab-bag of DJ-friendly tracks (although it’s clearly inspired by the club) but as a single, delicately crafted artistic statement. The entire record is shrouded in a flickering haze, worn through by smudged breakbeats and wiry drum machines. “Wetland”, with its swampy percussion and crystalline arps, echoes T++ and Kraftwerk. The radiant incandescence of “Gathering Drift” recalls GAS or Monolake's “Hong Kong.” Sampled breakbeats dip and swerve asymmetrically through “Boba” and “Terminal”. Across the record, textures and voices are reshaped by PVAS's homemade algo-software, UMT, which, in PVAS’ own words, “reconstructs one audio file by sampling another, resulting in output that merges their aesthetic qualities, creating rhythm with non-rhythmic sound files and abusing the stereo field.” But the most striking union of technology and poetic self-exploration comes at the end of the record, in the title track, from words murmured through a classic vocoder:



“when i stop framing myself as a boundaried stone

immovable, and powerful, and heavy

when i stop figuring my deepest space as my own

something which i am solely responsible

i surrender, i surrender”



PVAS is Jordan Juras, a Berlin-based artist who grew up outside of Windsor, Ontario. He has released solo EPs on Isla and xpq?, and is half the duo NUG (3XL, West Mineral Ltd.). In addition to developing music software professionally, he has used his UMT software on records by Lyra Pramuk and Dylan Kerr. Slipstream was recorded from 2022 to 2025.

Written and produced by PVAS

Mixed by TJ Hertz

Mastered by Anne Taegert at D&M

Artwork and design by Brodie Kaman

FNS007 — a collaborative EP by Oslo-based producer and founder of Boring Crew Records Anders Hajem and Berlin-based Ukrainian Koloah, founder of Salon Imaginalis delivering a cinematic, dubbed-out club record charged with Electro arp’s breaks and basslines.

A meeting point between Anders’s bold rhythmic palette and Koloah’s intense precussions.

Mastering : Incision Mastering
Artwork : Wrongmeow & Mariam Kantaria

Tell me something that makes a difference’ demands Gaia Weiss in Tenashee’s debut single. Something that immerses crisp melody into stodgy bass, collides warm dub with icy sound design, all the while slowly expanding like a supernova. ‘Tell me something’ takes the sounds and styles of the past and places them in a gravity-free future, while evoking an ethereal and precise atmosphere.
Gaia Weiss is an actress - not a singer by trade - and summons Charlotte Gainsbourg & Brigitte Bardot to deliver the spoken words as a fractured monologue, guiding us through splintered visions, and detuned chord progressions, in pursuit of the seemingly unattainable; ‘something that can make a difference’.
With this six-chapter journey on the newborn Street Cinema label, Tenashee (DJ Tennis and Ashee, Manfredi Romano and Joseph Ashworth) have crafted and refined - like two artisans from another era - a unique creation: a creature that reconnects electronic music with complexity and richness, fully aware of hyper-contemporaneity, yet capable of resisting surrender to it.
“Blink To Check It’s Real” featuring artist Campbell King - poet and beautiful soul - immediately immerses us in an electronic reality check, with 90s-inspired tweaking and glitching, all woven together with a poem from Campbell that contrasts the dizzying intensity of lust and connection with the comfort of being able to ‘loosen their grip’ and ‘make it safe.’
In ‘I Can See Now,’ Aurelia Ray (the stage name of pop-music-writing powerhouse Caitlin Stubbs) evokes a sense of serenity, pure love, and trust within a refined, spacious piece of minimalist electronica. “Blindsided” is a journey through pure, airy abstraction, a dance floor companion to the glacial trip-hop instrumental “Cold Logic”.
Finally, in “Memories,” the last track in the setlist but actually the first song the duo worked on, conceived and developed five years ago in 2020, the voice of Chinese German artist Mona Yim transports us to a place that is both emotionally introspective and intense, balancing on the edge between desire and reality.
“You should know where I go when I dream,” she states.
Over the course of five years, through exchanges, writing sessions, and fine-tuning in Paris, London, Saint Martin, and Ibiza, the world evolved, but Tenashee’s musical mission remained unchanged. The mini-album reflects the musical backgrounds of its two creators, their unique sensitivity to the present, and their desire to challenge each other with sharp, emotional, yet weightless styles and sounds. It is no longer just DJ Tennis; the successful DJ touring worldwide, organising events, and founding influential labels like Life & Death; nor only Joseph Ashworth with his scientific approach and creativity as a
producer and writer in the competitive world of pop; nor Ashee, with his releases on Circoloco and Aus Music. No, Tenashee is something more.
It is a duet searching for a thread that connects electronic music—past, present, and future—through experimentation, craft, and artistry. The moment has truly arrived for Tenashee to ‘tell us something.’

Despite immense challenges, SOYUZ have delivered a career-defining album in KROK.
“Krok” means “step” in Belarusian - and for Alex Chumak and his band this word comes with a lot of meaning. It’s the title and theme that ran throughout СОЮЗ (SOYUZ)'s fourth album, reflecting the journeys the band has navigated in recent years, having moved to Warsaw due to political unrest in their homeland of Belarus and the outbreak of war in Ukraine. Embracing the uncertainty became both the inspiration and main lyrical theme for Alex Chumak, SOYUZ’ composer and arranger, who also decided to go a step further and change the language in which he writes songs from Russian, which is used as lingua franca in many post-Soviet countries, to his native Belarusian. The result is nine songs about dreams and outer space, ordinary miracles, things very close and very distant at the same time.

In early 2022, Chumak and original members, Mikita Arlou and Anton Nemahai, joined tens of thousands of Belarusians seeking safety abroad. Resettling in Warsaw, the band released Force of the Wind in October 2022, garnering widespread acclaim, a string of major European gigs, and led to Polish musicians Albert Karch and Igor Wiśniewski joining the band.

Deeper and more melancholic than previous works, KROK is quintessentially SOYUZ, laced with hope, dreams and a celebration of life. Given the difficulties with finding rehearsal and recording spaces in Warsaw and the departure of the drummer Anton Nemahai from the band, Chumak explored alternative options. He reached out to friend and fellow musical collaborator, Sessa, about the possibility of recording the new album in his recently finished studio in São Paulo, with Sessa and Biel Basile coming onboard as recording engineers.

At the tail end of 2024, Chumak and SOYUZ’ new drummer, Albert Karch, made the trip to São Paulo to record the first sessions for KROK. Laid down directly to tape, these sessions featured prominent Brazilian musicians Sessa, Biel Basile, and Marcelo Cabral, with a guest vocal feature by Tim Bernardes recorded at a later date. The final touches were then added back in Europe. Lush string and woodwind arrangements written by Chumak and Karch were recorded at the Polish Radio studio in Warsaw, and Rhodes parts were added by Chumak at Sven Wunder’s studio in Stockholm.

Though primarily recorded in Brazil, KROK is not a Brazilian or MPB album. It blends the band’s Eastern European roots with jazz, folk and global influences. The genre of the music is hardly identifiable: there are folk ballads and jazz-driven pop compositions covered in lush and often dissonant string and woodwind arrangements where each note is placed with care and meaning behind it.

The title track was the first song Chumak wrote in Belarusian as an adult, making for a fitting opener and one of the band’s finest tracks. Darker than most of SOYUZ’ songs, the tensions lift and lighten as the track progresses. The cinematic library jazz of 'Voo Livre', with ghostly vocals sung by Ciça Góes and Ina, feels like a modern twist on the Italian library composer Alessandro Alessandroni through its sublime choir and woodwind orchestration. Elsewhere, the heartfelt 'Lingua Do Mundo', composed, written, and sung by Chumak and the incredible Tim Bernardes, features one of the standout string arrangements from Chumak and Karch. 'Cichi Karahod' is an instant SOYUZ classic, almost Pat Metheny-esque as it opens, with the acoustic guitar and bass riff transitioning into jazzy AOR / pop-folk territory. The record closes with 'Smak žyćcia', a gentle, dreamy spoken-word poetry piece in Japanese by singer-songwriter Manami Kakudo.

With a multi-decade spanning back catalogue behind him, Bearface aka Raj Panasa shows no signs of slowing down. Over the years he has built a sturdy reputation around his distinct and innovative feel-good touch whether that be on his own Beartone Records, or the many other labels he has shared his classy sound with.

“Remakes and Raw Cuts Vol. 1” is the launch of a new vinyl series from the London-based producer, a safe place for him to showcase his eclectic sound, alongside edits and remakes of some of his favourites over the years, all finding a home on his Beartone label.

Starting off on the A side Bearface provides a funk fuelled latin explosion with his version of the classic “Tudo Que Você Podia Ser”, sassy disco attitude ready for the summer months, presenting some unforgivable dance floor mania. The A2 “Got To Be” is an original cut, meandering between playful guitar licks, and stripped back, hypnotic percussion, there is a curious atmosphere as the track continues to simmer.

On the flip side an edit from the revered beatmaker. First up he edits “Tell Me I’m Not Dreamin’” by Jermaine Jackson, the infectious vocal injects a zesty life into a killer electro groove, a playful and animated trip ready to rock the floor! Closing out the EP is the retro sounding “Everything”, the robotic vocal flashes in and out, nodding towards Daft Punk, boasting beautiful strings and crispy hi-hats bringing that day time energy.

Bearface teasing those summer moments with a jam packed EP brimming with sunshine and positivity, dive in and feel the fun!

The Rituals series rises again, a fresh strike carved deep into black wax. RITUAL12 summons an international assembly of techno insurgents from the OMEN roster, each delivering their own sonic rite. Across two sides, the intent is absolute: raw, unfiltered power pulled from the shadows and unleashed on the dance floor.
RITUAL12 is not a compilation, it’s a convocation. Forged in analogue heat, drenched in distortion, and aimed directly at the heart of the floor, this record demands full surrender. Step in. There is no turning back.
SIDE A
Swarm Intelligence – Inexorable
Berlin’s Swarm Intelligence ignites the record with precision-tooled percussion and fractured basslines. Polyrhythmic tension winds tighter with every measure, industrial grit locking into a cybernetic march toward total hypnosis.
B.A.R.K – Shikijitsu
A bone-rattling invocation of distorted low-end and ceremonial drums. B.A.R.K drives forward like ancient machinery grinding to life, a Japanese primal energy sharpened to a deadly edge.
Axkan + Duellist – Resilence
Mexico meets Scotland for a brutalist assault: hammering kicks, serrated synth textures, and walls of analogue saturation. No safe passage here, only forward momentum into the heart of chaos.
SIDE B
EAS – Honored One
From Los Angeles, EAS delivers a tense, ritualistic construction where a subterranean EBM bassline pulses through metallic drones. Hypnotic, uneasy, and charged with controlled dissonance.
Ha†elove + Ogmah – Hanged Bodies
A dark ceremonial groove, heavy with ritual percussion and spectral synth chants. The layers rise to a fever pitch, blurring the line between transcendence and collapse.
Crystal Geometry + Axkan – Kratom
France’s Crystal Geometry joins Axkan for a militaristic strike of modular chaos and pummeling drums. EBM infused basslines drive beneath razor-sharp synth fire, rallying the midnight faithful to the front lines.

A cosmic journey in 8 parts: live drums and percussion looped through analog synths and vintage effects, unfolding into lush solos, deep basslines, and otherworldly textures. Anti-Planeting is Cappellato’s most exploratory statement yet—an album born of live experimentation, pressed for deep listening.

Releasing music – or art in general – goes beyond merely showcasing one’s performance skills or pursuing fame. Often, artists feel compelled to share certain works as a way to grow and transition into the next phase of their journey. The material may not always be easily digestible, but it is within these complexities that deeper meanings and innovative ideas emerge. This is what “Anti-planeting” embodies within Cappellato’s current musical landscape: a yearning to break free from a mindset that has long influenced society on this planet. Each track on “Anti-Planeting” carries a title that contributes to the overall narrative, revealing different aspects of the artist’s personal journey. Through these subtle feelings and intuitions, the album unfolds, gradually unveiling a complete puzzle that reflects the artist’s exploration and musical growth. “Anti-Planeting” is a fully realized album consisting of 8 tracks that emerged from these live experiments. The foundation of this project revolves around the use of live drums and percussion samples, which were then processed through an Electroharmonix 45000 looper and a Kaoss Pad II.

Can’t go over it. Can’t go under it. Gotta go through it. And somewhere out there in the Pitch black beyond all darkness lies Peace & Purpose. The horizon you never quite crest until the inevitable end. Breathe deep — this fearful moment is the most alive you’re ever gonna feel. For the last decade, Crack Cloud’s vision has grown ever more expansive, more cinematic. Last go around, they dropped from The Heavens and then performed with their bare backs to an endless darkening desert. Now they’ve crammed all that life into some metallic and strange object called Peace & Purpose. All the terror of living. All the helplessness. All the raw human will. All glued and screwed and locked into this impossible tactile shape of dungeon dub; sour milk vox; Avant-protest music. Music arm wrestling itself to the ground. Far afield of beauty. The discordant symphony of factory farming and grim timber of the meat processing plant. The grinding din of the cogs. And yet, never giving up in spite of all good sense. Even in death, we are a coterie of survivors. Look now: There’s Terry Fox on his one-legged Marathon of Hope across The Great White North while cancer spreads through his lungs. A self-annihilating drive to feel alive. Rage against the dying of the light, they say. Well, how ‘bout it then!??! Peace & Purpose is not in any way some art project meditation on Punk Rock. It is Punk Rock. Terrifying, inspiring, vital, invigorating and most importantly, utterly unexpected. Every goddamn stupid day is a sublime slice of fresh hell. That’s the point. Gotta go through it. Wishing you Peace & Purpose — if only in that last big breath.

Kicking things off, Suavy AF sets the tone with a sensual, groove-driven cut that balances raw energy and playful finesse. Tight drums, cheeky edits and a laid-back swagger make this one built for both heads-down listening or late-night dancefloor moments. Lemon & Mint, showing they're not here to play it safe.

On the flipside, Synkro takes the original into deeper territory, stripping it back and reshaping it with weighty low-end and a more introspective swing. He offers a more hypnotic take that hits just as hard in its own way. A perfect counterbalance that rounds out the release with class!

The labels catalogue is welcoming a third full feature album by no other than the young and promising producer from the UK – Phase ‘O Matic. This body of work marks the second LP by the artist in five years therefore to say the excitement levels can be measured by the excitement meter and these levels would be scientifically speaking - through the roof. From the opening track “Welcome to the Night” to the closing “The Weapon” which is named after the title of the album, the artist has demonstrated his impeccable production skills and knowledge of the 90’s sound with the modern twist applied. Over the years of hard work, he has developed his own sound and from what can be heard here safely could be said that this release is most definitely the weapon of mass destruction which has been added to the artist’s collection of releases. Straight from the mind onto this 12” canvas for you to enjoy.

PRESSED ON PINK COLORED VINYL Czarface returns from the shadows with "Knull & Void", a bone-rattling 12” straight from the film Venom: The Last Dance. Featuring Wu-Tang Clan's Method Man and the elusive Frankie Pulitzer, and rounded out with a never-before-heard B-side "Safe Haven", this one's destined to be a collector's grail. Whether you're a hip-hop head or a Marvel-maniac, these tracks hit harder than Venom himself...grab it before it vanishes into the void!

Dedalo District kicks off its first 12" with a split EP from two producers who don't play it safe.

On the A-side, Cruz - Barcelona-based and founder of 22 Records - delivers two cuts blending techno, electro, EBM, and new beat. Raw grooves, heavy pressure, no fluff.

On the B-side, Nativo, a Rome-based producer and part of the Incoherent Debts collective, fires back with two tracks built on breaks, electro, and synthwave textures. Twisted melodies, broken rhythms, forward-thinking attitude.

A debut that hits straight and leaves a mark.
No compromises - just tension and drive.

OiOiOiOIAiAiAiIAiÆÆÆÆÆÆIIIIII!!!! The new Cucum45 EP dares to speed off from the endpoint of the two previous outputs Something Weirdcore and Cyclops í poka and off the edge of the record at 1000km/h. With a hardcore opening track titled “IIIiiiIIiiiiiiiiiiiiiIIIIIIIiiiiiiiIIIIIiiiiiiiiIIIIIIIiiiiiii” (I added several more I’s in there for dramatic effect) that clocks with everything it needs to say at under 2 minutes, it’s safe to say that Cucumb45 aka Bjarki in this EP is WIDE AWAKE, YES!

Take “OpxThermin” – it’s straight up full-bore hardcore cartoon-pyrotechnics in overload, skipping and skedaddling over the turntables. Flipping out in a wild cocktail rush of hardcore ruffidge and smudged breaks that’s all smacked out on sugar frosted meth, listeners are gonna need some surgery to remove the smiley gurns from their faces. “Get Slothered 6even2” effectively can’t keep still as a track. From the collapsing rhythms and the pinging sound effects, it then decides what’s needed is a little bit of hip-hop flow in the background. Many hardcore rave re-treads (sorry, “deconstructed rave music”) often forget what this track seems to do at ease, and that is get you goddamn moving.

"Rathakrem" might have glitchy ambient Nintendo 90s vibe checks, but it is VERY un-chill. Stressed out hard drives grind to dust and distressed sounds of arcade dynamics mean that what you hear is the sound of Mario bricking it through all those haunted castle sections. Ironically the last track, “Crying Indian and Laser Horse” is the EP chill out tune, aiming instead for a nice, soothing, bottoms out disco-fister oompa-loompa warehouse techno track with auto-tuned cats, gunfire, orgasms, and
horses. A fine soundtrack for the morning commute!

Crash! Boom! Bang! 30-year anniversary celebrated with a unique special edition: a double album in black and white vinyl with 18 tracks and an 8-page booklet.

30 years ago, Roxette released their fifth album "Crash! Boom! Bang!", including a stream of hit singles like "Sleeping In My Car", the title track, "Fireworks", "Run To You" and "Vulnerable". The album would sell more than five million copies and was followed by their second World Tour, which saw them perform for over a million people, including the second performance ever by an international act in China.

“Roxette were among the three most played artists on American radio during 1989, 1990 and 1991, and we were on top of the charts all over the world. So, it's no wonder we felt pretty confident when it was time to record the new album”, Per Gessle says. “Having had that kind of success made us feel that we had a perfect opportunity to stretch out into new directions. To show slightly different sides of what Roxette could be. And I still think "Crash! Boom! Bang" is our best album”. Crash! Boom! Bang! saw chart success upon release, No. 1 in Sweden, No. 2 in Germany and No. 3 in Australia and the UK.

Roxette – Marie Fredriksson and Per Gessle – came out of Sweden in the late 80’s. Their game was pop, their mission to conquer the world. With 33 chart-busting singles and total record sales exceeding 75 million, it seems safe to say “mission accomplished”.

Electronic music visionary Pye Corner Audio, a master of blending nostalgia with forward-thinking production, has carved out a unique niche in the electronic music landscape. Drawing inspiration from 1970s and 80s synthesizer music, Detroit techno, and cinematic soundtracks, his work often evokes a sense of eerie futurism.

Lapsus Records is proud to present Where Things Are Hollow: No Tomorrow, a comprehensive box set revisiting and expanding his acclaimed Where Things Are Hollow series. This release includes the first two volumes—with Volume 2 featuring an unreleased track—and two additional chapters that further enrich the series’ narrative. Once again, Pye Corner Audio delivers innovative soundscapes, drawing inspiration from ambient techno, cinematic electronica, and experimental slow disco.

The third installment unveils a constellation of entirely new tracks, weaving the ambient, synthwave, and retro-futuristic textures that define Jenkins' work. Meanwhile, Where Things Are Hollow 4 amplifies this narrative, incorporating reinterpretations by some of today’s most visionary artists: Alessandro Cortini, Kaitlyn Aurelia Smith, Lord Of The Isles, and Surgeons Girl, alongside the popular 2020 John Talabot remix of "Resist".

As with previous entries, the visual identity of Where Things Are Hollow: No Tomorrow is a striking collaboration between Basora Studio and renowned illustrator Alex Trochut, offering a visual counterpart to the series' otherworldly audio.

With all tracks remastered for this release, Where Things Are Hollow: No Tomorrow is a testament to Jenkins' enduring influence and creative evolution, cementing Pye Corner Audio as a key figure in modern electronic music.

Building on the subtle beauty of her last album ‘Kassi Valazza Knows Nothing’ (???? The Times, ???? Mojo) ‘Weight Of The Wheel’, the first single off her new album ‘From Newman Street’, evokes feelings of heaviness and confusion with life’s constant cycle. Delivered with what can only be described as exquisite songwriting alongside her unmistakably tender yet warm voice that conjures up thoughts of the likes of Karen Dalton, Joni Mitchell and Sandy Denny with much of the same quiet wisdom.
Kassi Valazza returns with From Newman Street on May 2 via Loose Music. Newman Street refers to the location of a friend's house in Portland where Kassi found shelter and a safe space while navigating change in 2023. Here, she wrote most of the songs for the new record and planned her move to New Orleans, Louisiana. The 10-track set is delivered through a strikingly honest lens as Valazza ponders her willingness to accept change, finding positivity where she can. From Newman Street follows 2023's Kassi Valazza Knows Nothing, which received rave reviews from NPR Music, UNCUT, No Depression, MOJO, The Times, Holler, and more.
‘Weight Of The Wheel’, the first single from the new album, evokes feelings of heaviness and confusion with life’s constant cycle. Delivered with what can only be described as exquisite songwriting alongside her unmistakably tender yet warm voice that conjures up thoughts of the likes of Karen Dalton, Joni Mitchell and Sandy Denny with much of the same quiet wisdom.

NO COVER!

DJ Sotofett presents a double 12inch with 8 strictly underground & classic Techno tracks. The album features regular collaborators LNS, L.A. 2000, Ronny Nyheim and Zarate_Fix while scanning through a set of tracks designed for DJ Sotofett's resident nights at Berlin's Tresor club. Energy driven Dub-Techno, overtonal and percussive Acid, pumping bassline-riding power Dubs and Deep Techno wraps up this DJ friendly but versatile double pack. The programming, mixing, mastering and cutting on "WANIA mk1" has been perfected for an attempt to resurrect real undeground & no-bullshit club music, strictly for real DJ's and clubbers who passionately loves the core of true Techno music. Includes the bombastically percussive "Preparation" and 909-vocoder driven "My Spirit Is In Techno Music" as well as alternative mixes from the previously released "WANIA mk2".

THIS 2x12" SET IS CUT WITH LOUD VOLUME FOR EXCELLENT CLUB USE!

As bassist for dance-punk outfit The Rapture, Mattie Safer cut his teeth in the music scene alongside a wave of now-legendary early 2000s NYC acts like the Yeah Yeah Yeahs, LCD Soundsystem and more (a time period recently immortalized in the documentary film ‘Meet Me In The Bathroom.’) Fast-forward nearly 2 decades and Mattie has found the sweeter side of dance music as the current lead vocalist for slo-mo kings Poolside, and now he presents his 2nd solo lovetempo project on Razor-N-Tape.

Championed heavily by Gilles Peterson, lovetempo’s modern soul classic 'But I Do' gets a vinyl release with a trio of remixes. Crackazat delivers in his signature style, weav-ing the organic elements and earworm vocals of the original into a deep and jazzy mix. Lon-doner Daisybelle bumps the BPMs up a few notches and adds pulsing synths to her take, and Brazilian duo From House To Disco turn in a dubby club remix to round out the record.

The five-track ‘Touch The Vibe’ EP is the latest gem in the evergreen treasure trove of music from Australia’s CC:DISCO!. 'Feel It Peak' opens the release with two escapist minutes of slow-burning, gentle synth waves and Spanish guitar before 'Touch The Vibe' then takes off on warm analogue house drums with sugary chords and a classic bassline that bounces along at an infectious pace. Toronto-born DJ, producer and vocalist Jennifer Loveless also returns in fine form, providing heady spoken word vocals that wash over both cuts in an intoxicating fashion.

On the flip, 'Like This' is another absorbing and cinematic synth interlude while 'Me Gusta Is Dead (Period Pain Mix)' brings heavy late-night vibes with its punchy steel drums, fizzing pads and crunchy chords that make for a wild ride. Last but not least is the epic closer 'Yes Papi (Miami Daddy Theme)’, a glorious blend of prog, trance and techno with a 90s throwback feel featuring Loveless’ hushed vocals that showcases CC’s expert command of lower tempo, pumping grooves of the highest calibre.

Fresh off performances at Glastonbury and Love International, plus her debut Essential Mix for BBC Radio 1, it’s safe to say CC:DISCO!’s trajectory as an artist has risen to new heights in 2024. The Lisbon-based DJ, producer, radio host, and curator added a new string to her bow at the end of last year with the launch of her Miami Daddy imprint, which garnered critical acclaim from the likes of Resident Advisor, DJ Mag, and BBC Radio 1.

CC:DISCO! ‘Yes Papi (Miami Daddy Theme)’ and ‘Touch The Vibe’ drop via Miami Daddy on 21st September and 24th October, respectively, with the full EP releasing on 22nd November 2024.

Artwork and Typography by Stefan Marx

Four new and ultra deep italo-deephouse cuts from Jacy aka Giacy Bozzi from Bari in Southern Italy.

Jacy is running his own label Home Of House Records and is well-known in his comfort-zone, the very Underground. May it be for his contributions to the amazing „Welcome To Paradise“ Compilation Series on Safe Trip, being featured on Volume I, II and III or his records on Kalahari Oyster or Hot Haus Records.

All of these come with Jacy signature sound– timeless and deep tunes to stay, intense balearic feels that guide you through the night and revive the golden-era of House music.

Smallville 68 as always comes with a Full Cover Artwork by Stefan Marx.

Boys Noize presents ONES and ZEROS OAZ, a new experimental record label with the mission of breaking open the space of possibilities for techno and beyond. Reflecting new modes of subcultural circulation and integrating music,
objects, and a pluralistic network of artists, OAZ debuts with the 22-track Bo compilation, including two Boys Noize solo tracks, one of them “Bvrning” (Vinyl Only), as well as tracks by Locked Club, Safety Trance & umru, DJ Babatr, Slim Soledad, Schacke, KFR, TINKERHELL, David Löhlein, MarcelDune, and more.

Limited edition vinyl 12” of 100 copies
Omen Recordings delivers another uncompromising slab of contemporary techno warfare with a split EP from Duellist and Axkan, two sonic insurgents armed with raw industrial aggression and unrelenting rhythmic brutality. A fusion of contemporary hardness and forward-thinking sound design, ‘Chronicles of Conflict’ is a war cry for the underground. No safe zones. No surrender. Just pure unrelenting techno at its most merciless.

Duellist takes command of side A by launching a full-scale assault of distorted kicks, razor-sharp percussion and eerie atmospherics that coil through the mix like barbed wire. His relentless 4x4 barrage grinds through the low end with mechanical force, setting the stage for absolute dance floor devastation.

The B side has Axkan counter-attacking with his signature modular chaos that pulses, shifts and writhes through layers of grinding sonic warfare. Gnarled textures and punishing basslines carve a hypnotic path through the abyss, delivering a masterclass in raw industrial techno.