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Leather-jacket krautrock? Indeed. Welcome to the world of Carrboro NC's Object Hours. These generous saviors consist of three Triangle scene lifers who all worship the riff but imagine what happens if the riff fell into the middle of your favorite CAN LP. Yes, it lives up to the hype.

"Solved By Walking" was recorded in the winter of 2025 at Betty's in the Chapel Hill woods, these are mighty rock slabs ready for all seasons. Rock believers have felt the ripples and knew the day was coming. Object Hours is a band that fits right in on stage alongside acts as varied as Kim Gordon and Tropical Fuck Storm, bringing the house down in these and similar moments. These are songs that groove, peel paint, sandblast, inspire unconscious movement, make your head bob - frequently all at the same time. These are the jams inspired by the time that you heard "Fun House" coming out of that dude's car with the windows down in the middle of the summer, the ones inspired by the kids who own 3 copies of "Daydream Nation," the ones who listen to the last 1:30 of Wire's "Too Late" over and over. This is the band that has a timer on stage so they don't keep each song playing for days on end, the band whose Bandcamp bio succinctly summarizes their approach thusly: "We try to keep songs under 25 minutes for your sake." Every word here should be inspiration for you to *want* and *need* to hear this record and every word here is true. Just you wait.

Real heads know and the rest of the heads are getting ready to find out. Get ready for Object Hours' "Solved By Walking".

Dry Socket is a politically charged hardcore band from Portland, Oregon, known for blistering performances and emotionally uncompromising songwriting. Rooted in the raw aggression of classic hardcore, their sound channels the urgency of early Ceremony, G.L.O.S.S., and Negative Approach while carving out a distinctly modern, inclusive space within the genre, one where anger, grief, and survival are not just themes, but lived realities.

Their music confronts systems of violence, coercion, and control with unflinching honesty, creating room to be unapologetically furious, vulnerable, and alive at the same time. Every riff lands like a strike; every lyric feels torn from experience rather than abstraction.

Since forming, Dry Socket has toured extensively across the U.S., Europe, and Mexico, sharing stages with Gorilla Biscuits, The Hope Conspiracy, Torso, and more.

Their latest record, Self Defense Techniques, centers on survival under constant pressure. Inspired by the practice of dehorning rhinos to protect them from poachers, removing a vital part of the animal in order to keep it alive, the album examines the compromises people are forced to make to endure a hostile world. Horns are tools for protection, communication, care, and identity. To survive, so many of us are taught to remove our own.

Across the record, Dry Socket interrogates life inside systems that demand silence, obedience, and self-erasure. Songs wrestle with exhaustion, spiritual betrayal, and economic violence, oscillating between fury and grief. Self Defense Techniques isn’t about triumph, it’s about endurance, documenting the cost of staying alive while refusing the lie that softness is weakness or that silence is peace

2026 Repress

WRWTFWW Records is proud to present THE GENTLE PEOPLE - Soundtracks for Living (Expanded Edition), ?the ultimate Lounge/Chill Out classic from 1997, reborn! Available as a limited edition white vinyl 3LP in heavyweight 3-panel gatefold sleeve.

When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Soundtracks for Living was their defining statement: an album that "takes the lounge scene and runs away with it entirely… blissful and heavenly," as one contemporary review put it. Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's Soundtracks for Living: a record that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People - Dougee Dimensional, Laurie LeMans, Valentine Carnelian and Honeymink - began in early-90s Brixton, throwing dress-up theme parties before taking their audio-visual universe into the studio. For them, music was "a way of life": soothing to the ear, rich in pop hooks, and pitched somewhere between the playfully idiotic and the hyper-intelligent. Their debut on Rephlex was the single "Journey", later blessed with a shimmering Aphex Twin remix that pushed their sugar-coated sound even further into outer space.

This Expanded Edition of Soundtracks for Living finally gives this glambient lounge-pop milestone the treatment it has always deserved. Spread lovingly across 3LP, it features new mastering from the original sources, allowing every harp glissando, string swell and analog squiggle to float in high-fidelity widescreen. The core album is complemented by a bonus 12" of unreleased and rare material, offering a deeper dive into the Gentle world: alternate takes, lost interludes, and secret soundtrack cues for lives not yet lived.

Crucially, "Journey" appears here in its original version, Gentle Instrumental and the cult Aphex Twin remix, reuniting band and labelmate in one place and underlining the quietly radical nature of the project: this was lounge music that could sit next to braindance, acid and IDM and still steal the scene.

Pressed on limited edition white vinyl, Soundtrack for Living (Expanded Edition) invites long-time fans and new listeners alike to step back into The Gentle People's universe - a place of fondue parties, bubble chairs, star-lit elevators and endlessly rewinding sunsets, where "the pathway to the stars" is never quite out of reach.

In an era that often reduces the 90s to big-room bangers and grunge guitars, Soundtracks for Living remains a quietly subversive reminder that the decade was also about imagination, camp, softness and utopian possibility. As later writers have noted, The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.
In conjunction with this release, WRWTFWW has also unearthed The Gentle People's Peel Sessions, a 4-track EP from their 1997 BBC on-air performance, available on vinyl for the first time ever !

Nitai Hershkovits and Daniel Dor return with Found & Found, their second collaborative album and a natural continuation of the musical dialogue initiated with The Garden Suite.

Born out of pure curiosity - "there was more to say, more to explore," explains Dor - the album expands the duo's sonic language beyond the synth-only framework of their previous work. While the Moog remains central, Found & Found introduces clarinet and acoustic guitar, gently dissolving the boundaries between electronic and acoustic sound.

Each composition unfolds through interlocking, mantra-like patterns. Repetition becomes a space for transformation: melodies circle, textures shift, and subtle harmonic movements invite the listener inward. The music is structured with care, yet it feels open and fluid. intimate, spacious and quietly immersive. If their previous record explored orchestral depth through synthesizers, this new chapter embraces air and clarity. Acoustic gestures emerge within electronic landscapes, creating a sound world that is both grounded and weightless.

Nitai Hershkovits brings with his fellow partner Daniel Dor a refined harmonic sensitivity shaped by both jazz and classical traditions. Together they continue to refine a shared language that moves between structure and freedom, precision and emotion.

Patricia clocks back in at Acid Test with Y Try, a six-track Mini-LP, neatly packed, no detours. The brief was never complicated. Big room Patty business, plain and simple. The A-side aims straight for the main room, the flip takes things deeper.

Dompe Delivers Peak-Time House Energy on New Reload EP.
Definitive Recordings welcomes a brand-new three-track EP from Dompe, showcasing his unmistakable blend of classic house foundations, driving grooves, and modern club attitude.

Dompe aka Dominic Wagner is a DJ and producer driven by relentless passion and an instinctive feel for the dancefloor.
Known for pairing distinctive vocals with finely crafted basslines and arrangements, his sound is always moving forward while staying rooted in house tradition. Based in Berlin since 2011, Dompe founded Jackfruit Recordings in 2017 as his personal creative playground, releasing a steady stream of music that has earned both national and international attention. His doublevinyl album ‘Hippie Crack’ sold out quickly and charted strongly on Beatport, followed by ‘French Collection’. In 2025, Dompe made his debut on Definitive Recordings with a standout remix of the label classic ‘Let It Go’ by John Acquaviva, Olivier Giacomotto and Dan Diamond further cementing his connection to the imprint.
Now returning with a full EP, Dompe opens with ‘Reload’, a classic house groover built around a tight rhythm, a looping piano motif, and a chopped, repeated male spoken-word vocal that locks into the groove. It’s raw, hypnotic, and instantly effective on the floor. ‘Wave’ shifts into more percussive territory, drawing on classic tech house energy. Built almost entirely around drums, the track evolves through rolling percussion, catchy vocal snippets, and sharp house synth work before snapping back into a full percussive drive designed for late-night momentum. Closing the EP, ‘Sundown’ delivers a no-nonsense house stomper. Big 909 drums, a 90s-inspired piano theme, and a vocal sample declaring ‘ecstasy’ capture the peak-time feeling of a packed club
in full flow: direct, euphoric, and unapologetically house.

With Zera, Len Faki returns to Figure with a tightly focused EP that moves between raw, driving functionality and more open, atmospheric moments. Across five tracks, he explores variations in groove, tone and energy, balancing direct, floor-ready structures with a more fluid and spacious approach.

Opening cut Maschine Girl locks into a restless, forward-driving groove. Crisp percussion and a tightly coiled low end create immediate momentum, while sharp synth fragments and metallic accents add a nervous edge. The track stays stripped and efficient, letting its steady build and controlled tension carry the energy.
Kobold follows with a darker and more twisted tone. Warped synth figures weave through a heavy rhythmic backbone, giving the track a slightly mischievous character while maintaining a firm, heads-down drive. The interplay between tonal movement and grounded percussion keeps the groove dynamic without breaking its focus.
Closing the A-side, Maschine Girl (Version) revisits the opener from a different angle. Elements are tightened and subtly rebalanced, shifting the emphasis further toward rhythm and direct impact. More reduced and tool-like in nature, it pushes the groove forward with a sharper, club-ready feel.
On the flip, Zera unfolds with a broader sense of space. Hypnotic synth movement and layered atmospheres sit atop a firm low-end framework, gradually building intensity while maintaining a deep, immersive flow. The track thrives on its slow development, drawing the listener further into its evolving structure.
Rounding out the release, Zera (Hardspace Mix) reimagines the original with a heavier, more physical approach. The groove becomes more pronounced and the rhythmic pressure more direct, tightening the structure into a denser, floor-driven tool that emphasises impact and propulsion.
With Zera, Len Faki delivers a cohesive and wide-ranging release that connects raw, driving tools with more expansive, early morning-leaning grooves — further reflecting the breadth and versatility that has defined his output in recent years.

Stevie Cox and Ansboy: two powerhouses of the Glaswegian club scene join forces for their collaborative debut EP on Rhythm Section INTL- ‘Twice Like Rice’. It’s a weighty four-track EP designed for the dancefloor, taking in myriad influences from dub techno, breaks, trance and good old fashioned house music. The Ep is full of deep, pulsating rhythms, lush textures and emotive peaks - all road tested in Stevie’s Iconic home turf: Sub Club.

Stevie Cox has long been a name long ruminating on everyone's lips, as a resident DJ of the iconic ‘Sub Club’ with an ever-growing tour schedule and back catalogue of releases via the likes of Klasse Wrecks and Optimo. Whilst the name Ansboy may be new to some, it is a fresh alias for the grammy nominated producer and mixdown engineer Robert Etherson who has long been a staple in the Scottish scene with an international touring repertoire under his belt.

The two friends met in their hometown of Glasgow and began their musical journey together last year after Robert taught Stevie how to do mixdowns. The pair clicked effortlessly, quickly discovering they shared the same passion for emotive, deep and progressive dance music. Their first track together - which took shape in the form of ‘Drift’ - a high-energy synth led anthem, came out with a special selection of tracks curated by Bradley Zero for his exclusive SHOUTS Summer sampler in 2025.

For the Twice Like Rice EP, their work evokes all corners of the dancefloor, kicking things off with ‘GC’ - a peak time breaks-infused trancey-heater - a master class in building dancefloor tension which gives way into a searing crescendo. Things spin towards a darker percussive focus on the more intense ‘Twice Like Rice’.

On the b-side things return to blissful euphoria with ‘Virgil’ - a warm up dub-techno ballad, before the emotional release of ‘Subculture closure’ inspired ‘Carter21’.

For his new full-length on Second End Records, Lyon-based artist Jonnnah turns deeply inward. Conceived as a form of therapy, as much as a reflection and a testimony, the record retraces a process of introspection and confrontation with one’s own history, looking back at origins, DNA, and the invisible ties that connect us to our ancestors, while opening paths toward new connections.

The double-sided structure of the album makes this journey tangible. The first side lingers in uncertainty : opaque atmospheres, fragmented rhythms, and restless textures mirror the doubts, questions, and fragile states of self-analysis. The second side, in contrast, embraces clarity and resolution, dense yet luminous soundscapes where reconciliation and acceptance take shape, culminating in The Blue Comet, a piece charged with finality and revelation.

Opening with the multipart suite N-zero, symbolizing the beginning of therapy, and closing with O-one, evoking the soul’s original purity, the record traces a complete emotional and spiritual cycle. Between them, the third edition of Insomnia Never Ends once again portrays the struggle between sleep and the irresistible pull of musical distraction, a fragile tension that runs through the album as a whole.

The record condenses Jonnnah’s language into something rawer and more direct. Layers of dub and dub sonic resonate against ethereal ambient passages, while techno impulses maintain tension and forward motion. Each piece feels at once intimate and expansive, designed as much for solitary listening as for collective experience.

A new chapter in Jonnnah’s trajectory, the album is a document of transformation : from shadow to light, from questioning to acceptance.

Music To Watch Seeds Grow By continues its second season with Seoul-based left of centre ambient duo Salamanda - Uman Therma (Sala) and Yetsuby (Manda) - and their meditation on the inner life of a basil plant. Seeds 008 is an ambient composition born from quiet domestic observation: a single basil on a windowsill, its days shaped by light, warmth, and the slow passage of time.

The album moves through a full day in the plant's life opening with ‘introduce my atom which is my favorite one’, an act of quiet self-declaration in morning light, before settling into the unhurried rhythmic pulse of ‘to to ki toki tok’- the drip of water, the tick of a clock, the slow beat of photosynthesis. ‘allez, pousse!’ - one of the standouts in this journey - carries the basil's gentle will to grow, to push, to tilt toward the sun, while ‘hungry snail’ captures a moment of creaturely encounter on the glass: an uninvited visitor, moving slowly, wanting. As the afternoon deepens, 'Basil's Ritual' traces the daily ceremony of light and warmth, repeated with calm devotion from root to leaf. Night falls across 'Basil's Dream', and in the stillness something like sleep arrives - the plant resting, imagining tomorrow's sun. The album closes with ‘the blue wine’, a final mysterious reverie in which the basil seems to contemplate its own fate, somewhere between acceptance and wonder.

Burial Mix numbers 6 to 12: classic after classic, like King In My Empire, Queen In My Empire, We Been Troddin’...

‘Since the 16th century, the Ecuadorian province of Esmeraldas has been home to a unique Afro-Indigenous culture originating in the integration of the Indigenous Chachi and Nigua peoples with African Maroon communities. Juyungo documents significant Esmeraldan artists and bands playing the Afro-Ecuadorian folklore of the province, as well as including some older field recordings. Based mostly on the marimba, whose origins lie partly in the African balafon, partly in Indigenous percussion instruments, the music is laced with call and response chants, ambient insect and bird noise, the filigree finger-styles of the Andean guitar tradition and the panpipes of the mountains. This is resonant insider roots music at its headiest — the mystic revelation of Esmeraldas, gully deep and lustral.’
- Francis Gooding, The Wire.


The fifth in our series of LPs compiling classic music from Ecuador. Customary Honest Jons runnings: a beautiful gatefold sleeve; superior pressing, with vivid, intimate sound; full-size, sixteen-page booklet, in colour throughout, with detailed, fascinating, bi-lingual notes, and stunning photographs.

The music is transfixing, magical; not like anything else. From start to finish, this album is continuously, profoundly immersive; a kind of journeying, trippy meditation about slavery and cultural resistance, identity and mix, places and spaces, futures and pasts. It’s inscrutable to net-surfing, algorithms, Shuffle. But for a taste try the insurgent marimba roller Agua Largo, jet-propelled by Rosa Huila’s rapturous blend of African spiritualist and Christian chant. ‘Healing music,’ Zakia called it on Gilles Peterson’s BBC show recently. And the ravishing pasillo Kasilla Shungulla — ‘calm your heart’ in the Quichua language — a duet between the Peruvian master-guitarist Raúl García Zárate and viola da gamba by Juan Luis Restrepo from Medellin, recorded in a baroque church in Buzbanza, Colombia.

'At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.
'In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

'Us, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender… Lancaster?) and the evergreen Steve McCall on drums.
'On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album’s companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an “authentic representative of soul/free jazz”, to sum up this is Great Black Music!'

Following the success of the first vinyl release from the Moroccan label Sotor Records, featuring Zadig, Perc & Oscar Mulero, Sotor writes a new chapter in its discography with its second vinyl release. Meaning "lines" in Arabic, Sotor reflects its commitment to championing the diversity of the techno genre.
The label's ninth release, "Processing Range," is a musical ode to the lines of space-time. With four original tracks from the Portuguese producer, Sotor invites you on a techno journey between mental tension and physical release.
The album opens with DJ Dextro's "Controle," which delivers a massive, sharp rhythm, dystopian synths, and a true immersion into a techno black hole.
The journey continues with the second track on side A. This time, DJ Dextro unleashes an uncompromising version of "Blue Dot," achieving a precarious balance while showcasing his signature percussive style. The Portuguese artist delivers the perfect track to unleash a crowd.
On the B-side, DJ Dextro offers us the eponymous track, "Processing Range." We're quickly drawn into an allegory of this decadent modern world where humanity is rushing towards its own destruction. Expect dusty techno rhythms and that sumptuous synth that sounds like the end of times. Probably a future classic!
And you'll finish on a gentler but no less dynamic note from DJ Dextro. He concludes the EP with "31 Atlas," which will leave you weightless with its galloping bassline and abyssal synth.

American jazz drummer Roy Porter hit a late career high with his first album Jessica. The classic record throngs with intricate rhythms and vigorous drumming that reveal a playful yet ambitious approach. The standout title track 'Jessica' - a long jazz-funk meditation written for his girlfriend - reimagined by the master, Kenny Dope, shimmers with melancholy and colour. Extended breaks and beefed-up drums give the mix extra punch, while the horns retain their jazzy flair and the vocal version on the flips makes it's 7" debut - these cuts have previously been album only and are well worth copping.

The Owl (real name John Deevechis) has long used his Owl imprint to deliver high-grade, inventive and irrepressibly addictive re-edits. Here, the York-based producer hands over the reins to the previously unheard Nite Hawk, an artist whose identity has so far been a closely guarded secret. Our shadowy hero begins with the superb 'Disco System', an infectious, effects-laden revision of a low-slung, turn of the 80s disco workout rich in dubbed-out vocal samples, super-funky bass and piano loops, and tease-and-release dynamics that only add to the track's inherent energy. On flip-side 'Search Lite', Nite Hawk makes merry with a boogie-era workout, turning it into a glorious fusion of non-stop dub disco bass, rolling house beats and chanted vocal snippets.

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.


Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

O.B.F x Dubkasm.

Bristol, 10 AM. At the end of a garden, sub bass spilling out of a shed, the Dubquake crew had just stepped into the Dubkasm studio.

Rico jumped on the desk with Digistep, building riddims on the fly while Stryda and the crew bussed out some ninja moves. From that session, two raw dubz were born: Momentum and Shaku Dub.

Built for the dance, played on dubplate for a minute, it felt just right to press them onto heavyweight vinyl for the Teachings in Dub x Dubquake weekender that took place in Bristol and London last weekend.

Strictly dubplate pressure!

James Shinra continues his ‘Shinra Electro Company’ series with 4 acid-laced tracks exploring different aspects of his sound. Opener ‘Acid Every Day’ keeps it simple by combining hard hitting drums with a 303, while ‘Back’ adds a soulful touch with vocal snippets and dubby chords. On the B-side, 2 sub-rattling DJ tools.

First-ever vinyl edition of 2007 album "The Earth Is Shaking" by The Hydromatics featuring Kent Steedman (The Celibate Rifles) on guitar! Bang! Records brings you "The Earth Is Shaking", the THIRD album by The Hydromatics - a transatlantic high-energy rock 'n' roll unit powered by Detroit legend Scott Morgan (The Rationals / Sonic's Rendezvous Band) and Amsterdam cult-hero Tony "Slug" Leeuwenburgh (Loveslug). Originally released in 2007, this record captures the band leaner, rougher and fully locked-in: big riffs, street-level groove, zero filler, and that unmistakable Detroit soul-grit that Morgan owns like nobody else. And here's the headline for rock'n'roll die-hards: Kent Steedman (The Celibate Rifles) is on guitar - bringing bite, melody and attitude, plus extra sonic spice (yes: theremin) and production muscle. The result is The Hydromatics at maximum voltage, moving confidently into their own songs while still carrying the Motor City flame. Highlights include the swaggering "Streets Of Amsterdam", the barroom punch of "Standin' At The Juke", and the epic ride of "Detroit Leaning". Enjoy for the first time on vinyl!

Swiss powerhouse The 18th Parallel presents another slice of fine modern roots reggae! All Fruits Ripe is a heavyweight showcase album rooted in the foundations of reggae while firmly anchored in the present. Recorded between 2015 and 2025, the project brings together a powerful lineup of Jamaican vocalists — Micah Shemaiah, Keith Rowe (from rocksteady duet Keith & Tex), Rod Taylor, Var (Inna De Yard, Pentateuch), Hezron, and Itral Ites — each representing a different generation of conscious reggae music.

The album features six vocal cuts and five dub versions, highlighting both lyrical strength and sound system culture. Carefully mixed by master engineer Roberto Sánchez, All Fruits Ripe stands as a transnational reggae statement: Jamaican voices carried by a European band deeply connected to the roots with a profound respect for the culture that gave birth to reggae and dub. It features legendary guest Jamaican musicians Leroy ‘Horsemouth’ Wallace, Scully Simms, Dalton Browne, or Errol ‘Blacksteel’ Nicholson.

A mature and carefully crafted release where every track feels essential — like fruit finally ready to be harvested.

It's here! We are thrilled to announce the first record from Reggaescape Records, the first of many to come. After years of touring with Dawchy, we're releasing the track "Keep Shining," an invitation to keep your inner flame burning bright.

It's a 7" with a dub track on the B-side, mixed and produced by Fullness.

2026 Repress

The good time groove lovers at Pleased As Punch are back with another outing on vinyl that once again brings some irresistible energy across a cool house and disco spectrum. The Shapeshifters excel with one of their soulful, uplifting specials on 'Do What You Wanna Do' before Friendly Ghosts keep the flames burning but in a more low-key, intimate style on 'Fan The Flame.' Shaka Loves You shuts down with a churchy and gospel tinged vocal that's backed by florid Hammond organs and a traintrack groove finished with hefty bass on 'Hear Me Today'.

Tony Njoku returns with All Our Knives Are Always Sharp, a sonically expansive and emotionally charged second album that brings together a remarkable cast of black British voices. Featuring powerful collaborations with Tricky, GAIKA, Ghostpoet, Coby Sey, James Massiah Space Afrika and Labi Junior, the record serves as a landmark moment for Njoku, a culmination of both the singular musical style and nuanced, socially-engaged storytelling he’s been crafting throughout his career.

Rooted in themes of spiritual preparedness, cultural resistance and emotional clarity, the album unfolds through Njoku’s signature blend of electronic abstraction, falsetto-led songwriting and cinematic composition. It’s a work that cuts deep. Philosophical, political and personal, each guest brings a vital new layer to the conversation.





“ALL OUR KNIVES….” will be the first release on Tony’s new imprint ‘Studio Njoku’, which Tony says will serve as a space to facilitate his collaborations with his wider creative community. In addition the album will be pressed on heavyweight 180g vinyl limited-edition, with 300 copies worldwide. It will be the first run of physical production for Studio Njoku

2026 Repress

Step into the lush, verdant depths of Shjva’s sonic jungle—an enchanted forest pulsing with ultra-absorbing dub techno, glitchy rhythms, and deep, hyper- textured grooves. We’ve been impressed by her incredible releases on People & Places and Warning, among others, and now, her latest EP on our label takes that boundary-pushing energy even further. The rising Ukrainian force is joined by Jeku, who flips the script with a mind-bending trip to Goa mix, catapulting the journey into a dreamlike, transportive realm.

Angelo De Augustine kehrt mit ,Angel in Plainclothes" zurück, seinem fünften Album und bisher inspiriertesten Werk - eine tief empfundene Darstellung seiner mehrjährigen Reise der Heilung und Erneuerung. Das Album präsentiert De Augustines kraftvolle Melodien und ergreifende Texte in Titeln wie der eindringlichen Elegie ,Empty Shell", dem hoffnungsvollen ,Spirit of the Unknown" und dem herausragenden psychedelischen Country-Stück ,Mirror Mirror". Die Themen befassen sich mit der Zerbrechlichkeit des Lebens, zweiten Chancen und dem Wiederaufbauen seines Lebens, nachdem eine nicht diagnostizierte Krankheit ihn zwang, grundlegende Fähigkeiten neu zu erlernen: ,Ich versuche herauszufinden, wer ich jetzt bin", sagt De Augustine. ,Ich habe das Gefühl, dass mir eine zweite Chance im Leben gegeben wurde, und ich möchte sie leben." Das Album wurde vom Künstler in seinem Aufnahmestudio ,A Secret Place" in Südkalifornien geschrieben, aufgenommen, arrangiert, produziert und gemischt. Es ist das erste Mal seit Jahren, dass er wieder mit anderen Künstlern zusammengearbeitet hat, darunter der Streicharrangeur Oliver Hill (Kevin Morby, Helado Negro), den Harfenisten Leng Bian, die Backgroundsängerin/Percussionistin Wendy Fraser, den Produzenten Thomas Bartlett (der De Augustines ,Tomb" sowie St. Vincent und Bebel Gilberto produziert hat) und den Co-Produzenten Jonathan Wilson (Angel Oisen, Father John Misty) bei ,The Cure". Das Ergebnis ist ein kraftvolles Statement der Hoffnung: ,Eine der größten Hilfen, die mich am Leben gehalten haben, waren die Menschen in meinem Leben, die mir gesagt haben, dass letztendlich alles gut werden würde. Ich hoffe, dass diese Songs die gleiche Wirkung auf die Menschen da draußen haben und ihnen helfen zu erkennen, dass Wunder möglich sind."

Hrishikesh Hirway, Musiker, Komponist und Podcast-Ersteller, bekannt für seinen preisgekrönten Podcast und die Netflix-Serie ,Song Exploder" sowie Kompositionen für Film und Fernsehen, darunter ,Companion", Save The Date, Our Nixon und Everything Sucks!, begann sein eigenes Musikprojekt unter dem Namen One AM Radio und änderte seinen Namen mit der Veröffentlichung von To Call My Own EP im Jahr 2022. Produziert vom Grammy-Gewinner Philip Weinrobe (Big Thief, Adrienne Lenker, Theo Katzman, Cass McCombs), In the Last Hour of Light ist eine Erinnerung daran, loszulassen - von Menschen, von Erinnerungen, vom Wunsch, die Zeit davon abzuhalten, zu schnell zu vergehen. Die Songs entstanden nach dem Tod von Hrishikeshs Mutter, als die Jahre sie immer weiter in die Vergangenheit drängten; in den Momenten, in denen er in seinem Krankenhauszimmer darauf wartete, dass sich sein Vater erholte; in dem Traum von einer Tochter, die er nie haben wird. Es gibt auch Liebeslieder - aber es ist die Art von Liebe, die die Patina eines langen gemeinsamen Lebens trägt, in dem man ebenso viel Zeit hinter sich hat wie vor sich. Die Band von Hrishikesh bestand aus Shahzad Ismaily (Feist, Arooj Aftab), Ken Pomeroy, Mike Haldeman (Moses Sumney, Dawn Richards) und Joshua Crumbly. Zur Besetzung von Hrishikeshs Band gehörten Shahzad Ismaily (Feist, Arooj Aftab), Ken Pomeroy, Mike Haldeman (Moses Sumney, Dawn Richards), Joshua Crumbly (Leon Bridges, Kamasi Washington), Oliver Hill (Kevin Morby, Broken Bells, Vagabon), Sean Mullins (Sam Evian) und Cole Kamen-Green (Beyoncé, Taylor Swift); mit Gastauftritten von Iron & Wine, Fenne Lily, Ken Pomeroy und Uwade Hart (St. Vincent), Zosha Warpeha (L'Rain) und Dustin O'Halloran.

In 2026, the sample alchemist returns to his first love with his 11th album, Endless Smile 2. A 16-track project conceived as a tribute to his landmark 2015 album Endless Smile, which featured his iconic tracks “Betty” and “Qu’attendez-vous de moi”.

Born from a desire to return to the essentials, Endless Smile 2 focuses on instrumental compositions enriched with samples and organic textures inspired by the 70s. The album develops a warm and sun-soaked atmosphere, crossed by the melancholic touch that defines Degiheugi’s musical universe.

Recorded between 2023 and 2025 in his studio Endless Smile Records and mixed by his longtime collaborator Mr. Gib, the album opens with the trip-hop anthem “The Last Opening”. Far from being a simple introduction, it acts as a true gateway into Degiheugi’s new sonic journey. Keyboards set the tone, the horn section led by N’Zeng invites listeners into the groove, while guitars and organic keyboards immerse us fully into his musical world. The scene is set: he’s back.

Among the standout tracks, “Ain’t Goin Down” delivers a reggae-influenced groove driven by a message of hope, while “Vem O Mar” (feat. Hugo Kant) explores funk and tropical soundscapes. “Ipanemax”, a nod to the classic “The Girl From Ipanema”, and “Ouh Baby” extend this Brazilian atmosphere, while “Savoir Danser” leans toward oriental textures and “Juanita Bonita” ventures into a bold fusion of cumbia and dub.

The album also reveals Degiheugi’s signature melancholic side. An addictive loop settles deep into the listener’s mind as “Sympathique et sympa” balances nostalgia with urban groove. The haunting strings of “Naked” and the soul ballad “She Worries” respectively reflect on mortality and the fragility of romantic relationships. Guest artist Miscellaneous addresses gender-based violence on “Love Is Blind”, telling the story of a woman trapped in a toxic relationship.

Endless Smile 2 closes with “Enivrez-vous”, an outro inspired by Charles Baudelaire’s poem, bringing the album to a contemplative conclusion. With this release, Degiheugi masterfully completes a musical journey that began ten years ago.

Nevertheless, the latest album from Hammock, exists in a state of awakening. Across 11 ambient guitar string, and piano works, ethereal light crests and contrasts with darkness, giving shape to physical forms and feelings. Amidst sorrow and grief, melodic motifs and refrains echo from the past to reanimate dreams and faded memories. As Nevertheless asks questions of permanence and purpose, beauty takes shape in the intangible_the traceless connections that gave, and give, meaning. "Nevertheless has been one of those words that has outlasted my upbringing," says Hammock's Marc Byrd. "Being from the deep South, I most often heard it said or read at funeral services. It's meant to imply a type of sacred pause . . . a space of in between. Between the grief of being broken by the world and the impossibility of moving into a future that feels more like empty space and less like solid ground. This album is for a friend who lost a daughter and a son to addiction within a couple of years of each other. Requiem for Johan sets up the context for what is to follow throughout the rest of the album. . . a passage through the aftermath of devastation. Unfortunately, and fortunately, these seasons of loss are what we all share in common. Nevertheless . . . we limp on."

Yearly compilation series RADAR KEROXEN return with its sixth volume of theme-driven releases, continuing to chart the fractured sonic terrain of the Canary Islands’ undergrowth.

After digging through indie, psychedelia, shoegaze, and site-specific drone, Vol. 6 dives headfirst into the after-hours circuitry of the islas afortunadas, assembling a hand-picked selection of underground club mutations from five long-standing operators within the local electronic ecosystem.

If Vol. 5 was shaped by the cavernous resonance of Santa Cruz’s obsolete gasoline tank, Vol. 6 is fuelled by late-night club aesthetics and mid-90s hardware obsession. Opening the record, Dancelwerk — one of the archipelago’s early modular practitioners — delivers tightly wound structures nodding to Warp-era golden agefuturism and southern Tenerife’s rave boom. Cmos34 follow with their first-ever published material, injecting instability into the system through improvised techno rituals built on friction and feedback.

Jorganes drags the narrative deeper into hypnotic territory, stripping club music down to its skeletal pulse and channeling disciplined repetition and late-90s minimalism into austere, trance-inducing momentum. From Gran Canaria, Sunday German Flowers bends the mood toward cinematic dub: heavy low-end pressure, spoken word, and nocturnal atmospheres stitched into slow-burning club noir.

Closing the circle, Nico Hernández pulls the compilation back to volcanic ground with ambient compositions shaped by Lanzarote’s raw geological landscape — basalt echoes, tectonic silence, and island isolation rendered in sound.

As always, the release is housed in a post-tropical collage artwork by Pura Márquez.

Master by Daniel García
Artwork by Pura Marquéz

Time spent drifting from the northwest to Mexico to New Orleans and now to Montana has kept her off of the industry's radar until recently. Now, following her Newport Folk Fest appearance, she opened concerts for Big Thief and the Deslondes. Her performances on the Western AF have combined to garner over 200k views with the tastemaker site calling her "the GOAT." Cavazos' fans include Esther Rose, Benjamin Todd (Lost Dog Street Band), Riley Downing, Chris Acker, and Luke Bell. She collaborated as a member of a band (called Sundown) with Alynda Lee Segarra (of Hurray For the Riff Raff) and Sam Doores (of The Deslondes), the latter of whom produced this album.

Lily Allen's third chart topping album 'Sheezus' is now available for the first time on crystal-clear vinyl. The #1 album includes the hit single 'Hard Out Here'.

Molécule is a French artist, musician and sound explorer whose radical approach consists in going on expeditions to record nature in situ and transforming these raw materials into music.

On board a fishing trawler in the Atlantic Ocean, he created 60°43' Nord using the brutal sounds of a raging sea and the daily life of sailors. In Greenland, he composed -22.7°C deep within the ice pack, capturing silence, polar winds and the cracking of the ice itself. In Nazaré, he immersed himself in the world of giant waves, translating the ocean's raw energy into sound.
Positioned at the crossroads of technology, environmental concerns and sonic creation, Molécule embraces an innovative and committed artistic vision. Constantly pushing technical boundaries, he designs and experiments with advanced recording and production systems to expand the possibilities of sound capture.
At a time when many artists are shaped by standardized formats, Molécule stands apart through an authentic, immersive practice rooted in real-life experience. His work is built directly in contact with the elements and the places he inhabits, resulting in a singular body of work shaped by the physical reality of the world. This project presents a selection of studio productions developed in parallel with Molécule's soundfield recording expeditions. Here, he unveils five unreleased tracks, revealing his techno DNA in its most rough and raw form.
Designed for the dancefloor, these high-impact productions feature sharp BPMs and stripped-back energy, released on Lumière Noire, the label founded by Chloé.

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.


Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

"exquisitely produced and expertly rendered"." Pitchfork "startlingly accomplished and nuanced performance" The Quietus "the delicious irony of her lyrics remains intact, as does the freshness of the music" The North Devon Gazette "She's often described as a storyteller, and in interviews, she's spoken about wanting to win a Grammy or an Oscar," Resident Advisor VINYL COLOUR IS TRANSPARENT. For the first time ever, Frozen, by the Clovelly spawned artist Klein, will be available on real vinyl. 'Frozen' was previously released in two different versions: a two-cassette edition entitled Frozen: The Motion Picture Music Soundtrack that featured all the tracks from the film, and Frozen: Music from the Motion Picture, a bandcamp edition contained a selection of highlights from the soundtrack. The album was an international top 10 success, reaching #2 in the US and #1 in the UK, and contains three hit singles; "U got this" (#18 in the US and #10 in the UK), "grit" (#8 in the US, #3 in the UK, and #1 in France) and "tribute" (#7 in the UK). "mark", specially composed for the film Frozen, won both the Oscar and the Golden Globe for Best Original Song. Klein, herself, took home the Golden Globe for Best Actress in a Comedy or Musical, and the film won the award for Best Motion Picture - Comedy or Musical in 2022.

Steve O'Sullivan Returns to Phonogramme Records with New EP 'Tribal Dubs’ Following the success of his debut EP on the label, Steve is back with a mesmerizing three-track offering that showcases his signature blend of deep grooves and atmospheric textures.This marks Steve O'Sullivan's second EP on Phonogramme Records, further solidifying his relationship with the label and cementing his reputation as a leading figure in the techno scene. 'Tribal Dubs' is a testament to Steve's continued creativity and innovation, showcasing his ability to push boundaries while staying true to his roots.'Tribal Dubs' is set to release on Phonogramme Records and will be available on all major streaming platforms and vinyl. Don't miss out on this exceptional release from one of techno's most respected artists.

Phonogramme drops Analog Stories Vol. 3 , 4 new exclusive deep house gems by Abacus – raw, stripped-back grooves straight from the analog underground. A deep dive into gritty, hypnotic house for those who know. Limited coloured edition

2026 Repress

The stars align as Dublin’s Cignol graces Distant Worlds with a heavyweight transmission of rich acidic electro. Cosmic hardware voyages are the order of the day: wallshaking mechanical bassweight complimented perfectly by beautiful, intricate melodies.

Each track paints a beautiful picture of interstellar wonder perfectly aligned with what we have come to expect from the Distant Worlds stable. The galaxy’s dancefloors should seriously be considering some structural reinforcement as this reléase is sure to cause considerable damage.

Joe Fujinoki centered the compositions of his latest album Glass Torso round the idea of the fragility of the human body. Fujinoki described the narrative thread of the album as that of “holding the shape of a human body as if it might shatter like glass”. The precariousness of the body, the essence of the body as defined by Fujinoki as the torso, and the object relations between the boundaries of dialectical exercises pack themselves into his creative process.

Fujinoki recorded Glass Torso exclusively with analog synthesizers, stumbling in and out of structural loops to find space for accidental discoveries. The ten pieces of recorded material feel somewhere on the edge of typified form, feeling like a vascular system pumping in and out its undulating liquidities. Maybe this is the hollowed space held together by Fujinoki’s notion of the torso where you hear a microscopic world, dubby and generative. Fujinoki is adept at organizing this realm of subtle sound sources, giving proper considerations of shared tonal space. Seemingly, this handling of the precarity of sonic material elucidates Fujinoki’s mature attention to detail.

Ambient music genre tropes often affirm the listeners vessel for escape and dissociation. It provides an intoxicating allure by respite from an overwhelming exterior reality far outside the listeners controls. Here this space becomes apolitical, or its protest vocabulary softer and subtle. Fujinoki does not aim to tackle hyperobject topics on how to course correct the world, but he does something increasingly rarer to come across. On Glass Torso an alternative space is created not as shelter, but as a meditation on negotiation and compromise. This twenty eight minutes of audio lays down a foundation for imagination, for imagining how to negotiate the fragility of the self. Zoomed out, the implications of his negotiative sonics can be a playground for broader reflections on distributive care and attention.

Fujinoki says he feels “alert” to his physicality and placement in the world amidst vast digital cultures creating impositions on him and his surroundings. On Glass Torso he creates a concretized space on a vinyl record, where the virtual and the tangible antagonize one another that create the spectacle of the listening experience. This spectacle is a soft one, a considered one, and an utmost enjoyable one. Fujinoki juggles opposing forces brilliantly, and formulates an exquisite palette of soft passing music so he can also help the listener with the exquisite burden of their own Glass Torso.”

- Nick Klein, January 2026

What the fuck?? What the fucking fuck?? It's the only realistic response to these dark, divisive and dangerous times. How do you react? How do you feel? How do you soundtrack? Immersion is the project of post punk musical architects Colin Newman (Wire) and Malka Spigel (Minimal Compact) and Matt Schulz (Holy Fuck, Savak & Lake Ruth). Since the pandemic, Immersion has been mainly working on their Nanocluster collaborations, but they have now re-engaged with the core project after a UK and USA tour gave them a shot of musical urgency and lyrical immediacy. If the Nanocluster project is about collaboration, then Immersion in 2025 is a response to where humanity finds itself in the second decade of the 21st century. It reacts to not only that relentless rhetoric of these times but also how we as humans should respond. Music is the message, the medium, the massage and the moment. This song collection manages to combine the unease with hope, minimally hypnotic songwriting with taut melodies and inventiveness with groove. The lead off track released on July 28th is "Use It Don't Lose It" which they describe as `An expression of us both together, saying the same thing for ourselves & for others. The words are so direct they need no explanation. Anyone could join in with the chanting!

This year’s edition of our Glome series leans into a deep, driving, club-focused sound. The A-side opens with Mitra’s signature bass-heavy, bubbly textures, setting a warm, energetic tone before moving into Mordio’s relentless
groove, where the rhythm is lifted by chords that carry a subtle dub-like glow. On the B-side, Tenzia brings his unmistakable sense of groove and an uplifting, wide-open sound palette that feels both playful and effortlessly fluid until the record wraps up with Vanta’s eerie, enveloping atmospheres that creeps right under your skin. Each track carries the unique fingerprint of its artist while staying true to the evolving sonic identity the label is shaping.

El Pulso del Acero: Shinkansen is Esplendor Geométrico's electrifying new album, blending trance-inducing industrial rhythms with bold voice and noise collages. Featuring 16 tracks, it revisits the raw power of their 80s classics while exploring futuristic industrial sounds, with recordings from Tokyo (2025) and a rare previously limited tracks now on vinyl for the first time. After over 40 years of continuous innovation, the influential Spanish duo continues to shape industrial, techno, and experimental noise music worldwide. Available on double vinyl and CD digipack. The raw power of their early work is also present here in some brilliant reconstructions of 80s tracks turning out very different from the originals (Rotorama, Trybuna V, Shinkansen, Héroe del Trabajo 2025, or Introspectivo). Songs such as Auto Reverse will be especially appreciated by the most avid fans of EG's early sound. Other tunes of futuristic industrial music closer to their previous album, Strepitus Rhythmicus, are also included (Experiencia AV, Isla, Por un Perro_) Ten tracks were recorded in 2025 in Tokyo, where Arturo Lanz (founding member of E.G.) currently resides. The other six were released, only on CD,in an ultra-limited edition shared with the group De Fabriek in 2023, long sold out, now finally on vinyl for the first time. Born in 1980 as a trio, and currently a duo formed by Arturo Lanz (founding member) and Saverio Evangelista (member since 1991), Esplendor Geométrico is an influential and international electronic cult band and also a rare case in the Spanish music scene, as they have developed their own independent path aside from tags, fashion or trends, in spite of being often classified as industrial music. Their career for more than four decades hasn't had interruptions. They haven't stopped composing, releasing albums or playing live.Their influence has marked many later artists, usually classified in the so-called industrial music or rhythm & noise, as well as artists from current techno and certain types of experimental noise music.

Music From Memory presents inrain, a collaborative project by Rudy Tambala of A.R. Kane and Alison Shaw of Cranes, originally recorded in the early 1990s.

inrain brought together two artists who were at the time shaping distinct yet quietly influential currents within alternative music. Through A.R. Kane, Tambala had helped redefine the possibilities of guitar music, placing atmosphere, abstraction, and emotional ambiguity at its centre in ways that would later resonate across dream pop, shoegaze, trip hop and experimental pop. At the same time, Shaw’s work with Cranes was establishing a singular vocal presence and a deeply intuitive approach to mood and space. inrain emerged at the intersection of these sensibilities.

The project began after Tambala was introduced to Shaw by Geoff Travis, leading to sessions at H.Ark! Studios in Stratford, East London. Working outside the expectations of their primary bands, the pair recorded informally over several months, building songs from minimal foundations. Early sampling technology, drum machines, acoustic guitar, and voice were used sparingly, with arrangements left open and space treated as an active element within the music. Vocals were often improvised, first takes preserved, and the atmosphere of the studio — calm, unhurried — became part of the sound itself.

Originally released in limited form during the early 1990s, the recordings carried subtle traces of the surrounding musical landscape: the low-end experimentation of emerging jungle, dub-influenced rhythmic structures, and a restrained melodic sensibility shaped as much by classical textures as by contemporary underground culture. Though modest in scale, the music feels quietly expansive — intimate, patient, and emotionally direct.

For this release, all tracks have been newly remastered from the original DAT tapes. This edition also includes the additional track 'Biology', written and recorded in 2012

Berlin's eira haul debuts in full on Limousine Dream with a 5 track EP that stands out as one of the deepst in the Limousine Dream catalogue. Lead track Gado2 may seem innocuous at first, but it's propulsive bassline and ever shifting melodies reveal a sleeper bomb that is as timeless as any track we've released. It's complemented by 4 ultra-pliable tools, all driving with a force that belies their depth. It's a true house DJ's disc.

KUATO makes their STAR CREATURE debut with a pair of funk covers that pay homage to 2 funk greats with a creative new spin. The duo pulls off a great cover of INGRAM's D.J.S DELIGHT and follow it up with a FATBACK BAND banger TIM TUCKER joins with perfect vocals on both sides.

A coloured vinyl edition celebrating the 45th anniversary of her debut.

"Friday Chinatown" is a classic, representative of the city pop movement that has taken the world by storm.

Her debut song, released at just 20 years old, is also her signature song!

She debuted as a singer-songwriter in 1981 with "Friday Chinatown," released by Polydor Records.

Music by Yasuha, lyrics by Toyohisa Araki, and arrangement by Akira Inoue.

At the time, it peaked at #69 on the charts, but this masterpiece is more memorable than its record.

For its third release, Honey Trap turns toward the instinctual. Ritmo Animal is a record driven by body memory, where rhythm becomes language and movement becomes communion. Vancouver- and Colombian-rooted duo Dosis weave club music with lived histories, drawing from punk ethics, soundsystem culture, and a deep commitment to collaboration.

Formed by Daniel Rincon and Zachary Treble, Dosis operates in the space between structure and looseness, where grooves feel hand-built and edges remain intentionally rough. Across five tracks, Ritmo Animal resists clean categorization. House mutates into dub-soaked psychedelia, vocals surface and dissolve, and percussion swings between discipline and abandon.

The A-side opens with “I Want To Be Your Dog”, a low-slung, hypnotic burner featuring Alien D, setting the tone through repetition and restraint. The title track, “Ritmo Animal,” anchors the record in motion, with saxophone lines from Dave Biddle threading through percussive momentum and grounding the track in something tactile and human.

On the flip, “Malibu” offers a softer pull, with Hannah Acton’s vocals drifting through warm, unhurried rhythm. “Humo,” featuring Hashman Deejay, leans deeper into smoke and sway, while closer “Sancocho” stretches time entirely, favoring communal simmer over destination.

Ritmo Animal is music made for shared space. It is not concerned with polish or purity, but with connection, between scenes, cities, and bodies on a floor. Another chapter in Honey Trap’s ongoing exploration of intimacy, pleasure, and rhythm as refuge.

Jorge Ben’s 1969 self-titled LP is a bright, energetic landmark of Brazilian music. Mixing samba, soul, and pop with effortless charm, the album captures Ben at a moment of bold creativity.
His warm guitar lines, catchy melodies, and rhythmic drive shape songs that feel both relaxed and full of life. This masterpiece helped define a modern, upbeat sound that influenced generations of artists. More than fifty years later, this LP still stands out for its simplicity, groove, and unmistakable style—an essential snapshot of an artist who transformed Brazilian popular music.

Gal Costa’s 1969 self-titled album stands as one of the
boldest statements of the Tropicália movement. Blending
psychedelic rock, experimental arrangements, and Brazilian
popular music with fearless originality, the album showcases
Costa’s powerful, expressive voice at its most adventurous.
Featuring contributions from major Tropicália figures such as
Caetano Veloso and Gilberto Gil, its mix of sweetness and
sonic daring helped redefine contemporary Brazilian music,
cementing Gal Costa as a groundbreaking and influential artist.

e A5 Harbour (At Hotel2tango) [feat. Elizabeth Glenn-Copeland]





[e] A5 | Harbour (At Hotel2tango) [feat Elizabeth Glenn-Copeland]

Freaky Chakra hails from San Francisco and is a local legend with a vast discography that has roots back in the early 90s and fetches mad prices on second-hand markets. This is a new one from him that shows off his take on tech, starting with 'Discotechno' which is a bubbly number with rubbery bass and aquatic synth globules. 'Foreign Element' is a heavy dubby stomper with a fat-ass groove and 'Space Jam' then takes off with more cosmic synth smears and delicate motifs drifting above a more muffled rhythm. 'Backflash' shuts down with a wonky back and forth and more late-night grit. A fresh sound from this venerated veteran.

The year that NOW’s story began, and where we started our ‘Yearbook’ series back in 2021. An incredible year in Pop music, and a fabulous selection of the years’ hits have featured on that first ‘Yearbook’, and on the ‘80-84 Final’ as part of our appreciation of 1983. Those tracks were generally the bigger hits of the year, with their Chart achievement a factor in their inclusion. However, that’s not the whole story, and our celebration of 1983 wouldn’t be complete without shining a light on some of the year’s singles that have been compiled much less frequently over the past 40 years. Welcome to the THE VAULT for 1983…Some of the tracks were Top 40 hits, some missed the Chart completely, and some were huge in the U.S. and not in the U.K. – but all are part of the wonderful Pop story of 1983. Released as 80 tracks across 4-CDs, available as a standard 4CD and as a a special edition 4CD in ‘hardback book’ packaging featuring a 28-page track by track guide, original singles artwork and a quiz and 45 tracks across 3-LPs, pressed on stunning translucent red vinyl -

With our 12th anniversary approaching, we invited Dutch artist Human Space Machine, who delivered Perception Field, a five track EP built around the idea that perception is never fixed.
Across a wide tempo range, the record explores how the same material can shift depending on focus and context. Foreground and background exchange roles. Subtle textures and negative space shape the impact as much as the main rhythmic elements. Perception Field approaches club music as something fluid and responsive, where meaning forms through the act of listening itself. It’s an impressive showcase from an artist that shows once again he’s capable of merging layers of his excellent sound design with deeper feelings.

With our 12th anniversary approaching, we invited Dutch artist Human Space Machine, who delivered Perception Field, a five track EP built around the idea that perception is never fixed.
Across a wide tempo range, the record explores how the same material can shift depending on focus and context. Foreground and background exchange roles. Subtle textures and negative space shape the impact as much as the main rhythmic elements. Perception Field approaches club music as something fluid and responsive, where meaning forms through the act of listening itself. It’s an impressive showcase from an artist that shows once again he’s capable of merging layers of his excellent sound design with deeper feelings.

With the Hormesis EP, Alric Aerial explores the delicate threshold between pressure and growth. The title a reference to the biological phenomenon where stress triggers a positive adaptation serves as the conceptual foundation for a sound born from deep introspection.

It is a testament to the idea that resilience is not just about enduring, but about evolving through the friction.

In his productions, Alric Aerial weaves together personal and cultural fragments, bridging the echoes of his heritage (Tales From The Desert Part II) with a conscious departure from familiar scenes and habits (Good To Be Gone). This work marks a natural evolution a shift from the noise of the outside world toward a more refined, intentional focus in the studio.

The tracks strike a balance between "dirty" authenticity and infectious, groovy basslines. From driving, straight-forward rhythms to melodic leads, the work shifts between cinematic tension and uncompromising momentum. Especially in the title track, Hormesis, Alric’s vision culminates in the transformation of fragmentation into energy. The music invites the listener to find a new kind of presence within the act of disappearing to get lost in the pulse, only to emerge more resilient.

Having established themselves as one of the leading live bands in Europe, grooving to improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP, Still Blunted, which sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. Still Blunted was released after the band performed at the legendary Montreux Jazz Festival in 2024 summer, but before they sold out The Jazz Cafe, London, and three more venues (Paris, Antwerp, Utrecht) on their album release tour in October 2024.

Transversales is very glad to announce the release of « Mémoire Magnétique, vol.3 » spanning 1967-1971, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani.

The third volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts.

Remastered high-resolution audio transferred directly from the original master tapes.
Deluxe Edition with OBI

aut drum science and steely atmospheres are the order of the day as Terrain deliver a moody, stripped-back four-track EP for Livity Sound. The partnership of Forest Drive West and Voytek has so far yielded sharply-focused releases for Delsin's Mantis series and Vargmal, finding the synergy between lean, intricate drum & bass and heads-down, experimental techno.

On 'Barossa Dub', the pair pitch down to a half-time, dancehall-angled groove to propel a heavily-dubbed soundscape and system-ready bass. 'Nica' maintains the low-slung swagger while steadily ratcheting up the dread. On the flip, 'Scatter' winds the pressure back up with a punchy broken techno workout that teeters on the edge of breakbeat. 'Hive' opts for a brooding, purring techno meditation that thrives on slow release and intricately crafted sound design, capping off a diverse trip through austere club modernism.

Naya Beat is excited to announce 'PAWA!', a soaring disco-funk anthem celebrating feminism and the power (pawa) of togetherness. It is a mouthwatering collaboration between legendary jazz vocalist and disco pioneer Asha Puthli and NYC’s punk-chic, discodelic stars Say She She.

A fortuitous and fleeting window between touring schedules allowed Puthli and Say She She’s Nya Gazelle Brown, Sabrina Cunningham, and Piya Malik to write and record Pawa! with members of the cult funk band Orgone in the English countryside at Mike Oldfield’s (Tubular Bells) studio. Pawa! is a tribute to female fortitude and an anthemic call to action for unity and collective action. PAWA TO THE PEOPLE! Asha’s spoken word bursts into a soaring falsetto while Say She She’s celestial three-part harmonies make for a sublime call and response between the fabled mentor and her gifted disciples. Throw in a stellar bassline and one of tightest rhythm sections around, and you have an instant classic. And if that wasn’t enough, four remixes bring Pawa to the dancefloor! The UK’s legendary Crazy P deliver not one, but three future classics – an epic house take with a stomping bassline, a stripped-down vocal dub, and a sunshine-ready disco dub. Not to be outdone, Greece’s favourite dance duo Boys’ Shorts add magical disco touches and reimagine the original as an eight-minute balearic opus.

Featuring beautiful artwork and a premium poly-lined inner sleeve, the 12" has been cut to vinyl for the discerning DJ and listener by Grammy-nominated Frank Merritt from The Carvery, London.

Part Two of our 'Back To The Old School' series has arrived in full effect. Once again, Mr "Love" Lee updates classic disco-rap cuts for today's dancefloors while preserving their original flavour and integrity. Kicking things off is Xanadu & Sweet Lady's Jamaican version of "Rappers Delight," where Dave refreshes the instantly recognisable percussion track into a captivating jazz-funk workout, perfectly complementing Sweet Lady's luscious rapping and somehow making it even more danceable than ever. Up next, Solo Sound "We Are The Crew (Called Solo Sound)" delivers a swampy, lo-down slice of cosmic funk primed to rock any block party. On the flip is an alternate Philly flavoured take on TJ Swann's 1981 jam "Get Fly." This time Dave Lee re-tracks the MFSB backbone, putting his remixing prowess fully on display and landing squarely in the dancefloor sweet spot. As a bonus, any wannabe disco rappers can hone their skills over the B2 Shepherds Delight (No Rapstrumental Mix).

"PRONTO" is the debut album by ARYA, an Italian-Venezuelan artist who grew up in Milan. ARYA arrives with this first full-length album after the EPs
Peace of Mind (2021) and Punto Zero (2023), collaborations (Mahmood, Venerus, Ghemon, Dardust, Calibro35, and many others), and an intense live
activity, which have made her one of the most interesting voices on the Italian neo-soul/R&B scene.
Born from a personal journey of therapy and awareness, "PRONTO" takes shape as a concept album, transforming the emotional investigation into a
coherent and layered musical narrative. The title captures the meaning of the project: "Pronto" is a word that crosses all the languages present on the
album—Italian, English, and Spanish—taking on different meanings ("subito," "presto"), and is also the first word uttered in the intro. A term that introduces the listener to a space of availability, anticipation, and presence.
The entire album was produced by Claudio La Rocca (Sup Nasa), a key figure in building the project's sonic identity. Giuseppe Seccia, Matteo D'Ignazi,
Martina Tedesco, Tiziano Codoro, Stefano De Vivo, and Giulia Gentile also contributed to the album, recording the instrumental parts and contributing
to the arrangements and production of some tracks.
With "PRONTO," ARYA takes the listener on a journey through different levels of her emotional history, until the elevator starts moving again and leaves room for a new possibility of balance.
ARYA (AryaDelgado) is an Italian-Venezuelan artist born in Milan in 1994. Daughter of salsa singer Orlando Watussi, she grew up surrounded by music
and quickly developed a sensibility that blends Latin roots, nu-soul, and contemporary R&B, with a strong focus on the emotional and narrative dimensions of her writing. In 2021, she released her debut EP, Peace of Mind, followed in 2023 by Punto Zero. These releases attracted press attention
and led to collaborations with artists such as Mahmood, Venerus, Ghemon, Dardust, and Calibro35. Over the years, she has consolidated an increasingly recognizable presence, alternating songwriting, solo production, and an intense live schedule in Italy and abroad. In 2024, she accompanied Mahmood on tour and released the single, "Si Potesse Tornare." In 2025, La Noche En Que Te Fuiste and Onda were released, songs that marked the
beginning of a new artistic chapter and anticipated the release of “PRONTO,” her debut album, released in February 2026. An intimate and layered
work, which focuses on vulnerability as a language and confirms ARYA as one of the most personal and aware voices of the new Italian soul scene.

glob deejay enters with ‘glob’. Presented on NAFF as a suite of naive club and dancefloor cuts engineered to take you to the otro lado.

glob deejay is the new club form from Stone Burletson, who has adopted the moniker after previous downtempo dealings under his government name. A globular shape now takes hold as a vehicle for Stone’s love of minimal house and ambient techno.

The Feet Follow Hands collective present their first release: a collaborative 12” from the group

Flâneurism comprising four dub-techno studies shaped through mixed authorship.
Switches (dub) restructures its source material into ten minutes of blurred chords over a deep,

unhurried pulse.

Switches (Flâneur mix) cuts the same material apart and reassembles it with technical precision, beats sliced into a sharper focus.

Source-Continuous is an echo of an echo, original idea long dissolved, leaving only a looping trace.

De-Wave builds stepping, uneasy momentum contrasting bright sound design over a dub undercurrent.

Feet Follow Hands are proud to share this release built on the collaborative ideals of iteration, versioning and shared process.

Infinity EP is Devilish Affair at its core: deep house music crafted with elegance, a soundtrack for late-night minds and uncertain times. Devilish Affair returns with its sixth vinyl chapter: Infinity EP, a deeply personal and elegant statement from Alex V.
Born in Barcelona and shaped by the late-90s deep house spirit, Alex has spent decades refining a sound that feels both timeless and intimate, music built on warmth, subtle swing, and an unmistakable sense of romance.

Soul meets Funk 1967-style. Club Sounds, Funk Guitar Groovers, Soul Cha-Cha, Hammond Magic, Freak-Out Party Sounds, Slinky Organ Smoochers. Cornbread And Buttermilk, Chittlin' Salad, Sweet Potato Gravy, and a Bucket Of Grease. Just Instrumentals Soul and Funk-Style. Mmm Mmm Mmm.

Straight from an alternative dancefloor, a recollection of stone cold classics from huge & influential post-punk pioneers. They called it white funk once, but here you can even catch echoes of latin, dub and club influences, a mutant disco manifesto from a series of British champions such as Normil Hawaiians, Glaxo Babies, Playgroup, C Cat Trance, Suns of Arqa & Prince Far I and many more.

Tracklist Side A:
Normil Hawaiians - Obedience
Vee VV - Keep Beat
Spit Like A Paint - For The Life Of Me
Group Therapy - Arty-Fact
C Cat Trance - Hypnotised

Tracklist Side B:
The Chicken Granny - Quit The Body
Machine Gunn Hogg And Co - Bed Bound Saga
Playgroup - Hoggs Might Fly
Glaxo Babies - Shake (The Foundations)
Suns of Arqa feat. Prince Far I - G.D. Magik

FOLLOWING THE SUCCESS OF “THE OTHER HELL”, GOBLIN ARE BACK FOR RECORD STORE DAY 2026 WITH AN EXCLUSIVE COMPILATION OF SINGLES RELEASED BETWEEN 1975 AND 1979!

For the very first time on vinyl, this compilation gathers together all the singles released by Goblin during their golden era between 1975 and 1979, a journey that begins with the explosive, legendary debut Profondo Rosso, a true chart phenomenon of its time, and reaches the rare Amo Non Amo, passing through unforgettable milestones of Italian film music and progressive rock.

The collection opens with Profondo Rosso and Death Dies, taken from the soundtrack of Dario Argento’s masterpiece that catapulted Goblin to fame, blending dark atmospheres, virtuosity, and a unique sense of cinematic tension. It continues with Roller and Snip Snap, drawn from the instrumental album Roller (1976), a record not tied to any film, yet considered a cult cornerstone of Italian progressive music for its intricate structures and expressive power.

Chi? and Chi? - Parte Seconda follow; two tracks originally composed as the theme for a 1976 RAI television show, which saw Goblin bring their unmistakable sound to a different medium, experimenting within a shorter, punchier format.

Next comes Suspiria with its haunting counterpart Blind Concert, from the soundtrack of Argento’s 1977 horror classic. This remains one of Goblin’s most iconic and unsettling works, where music becomes an active narrative force: hypnotic, percussive, and filled with eerie vocal layers that made it a cornerstone of horror soundtracks worldwide.

From Il Fantastico Viaggio del Bagarozzo Mark (1978) come Un Ragazzo d’Argento and Opera Magnifica, two tracks that highlight the band’s more conceptual and visionary side, a move away from cinema toward a self-contained narrative and progressive experimentation.

The single Yell stands as another late-decade gem. Originally composed as the opening theme for the RAI television series “Sette storie per non dormire” (1978), it captures Goblin’s ability to merge rock energy with electronic pulse, proving their versatility far beyond the horror realm.

The compilation closes with Amo Non Amo and Funky Top, taken from the soundtrack of the 1979 film Amo Non Amo, one of the group’s lesser-known but fascinating cinematic works.

Far more than a simple anthology, The Singles Collection 1975–1979 maps the evolution of Goblin’s sound, from the worldwide success of Profondo Rosso to their most mature and experimental phase. It finally restores to vinyl a body of work that had long been scattered across rare 45 rpm releases, offering fans and collectors a complete, vivid portrait of one of Italy’s most inventive and influential musical ensembles.

Amore Libero – Free Love marks the first film score composed by Fabio Frizzi, written in 1974 for the movie of the same name directed by Pier Ludovico Pavoni. Set against the exotic backdrop of the Seychelles, the film tells the story of Simo, a free-spirited young woman played by Laura Gemser in her cinematic debut, blending sensuality and the spirit of liberation so typical of the 1970s.

Frizzi’s score perfectly captures the film’s atmosphere, weaving together evocative melodies, funky grooves, and progressive textures — an elegant, psychedelic soundscape that reflects both the tropical setting and the film’s themes of freedom and desire. The recording features the Goblin in their classic line-up: Fabio Pignatelli (bass), Massimo Morante (guitar), Walter Martino (drums), and Claudio Simonetti (keyboards), with Vince Tempera handling arrangements and orchestral direction.

Long regarded as a true holy grail for collectors, now, for the first time ever, it is officially reissued on vinyl, bringing back to light a fundamental chapter in Italian film music and progressive sound. An essential record that merges Frizzi’s melodic genius with the visionary energy of the Goblin, Amore Libero – Free Love stands as a timeless document of an extraordinary era in Italian cinema and its music.

A Record Store Day 2026 exclusive / Pearly light blue vinyl edition / 30x30cm insert with extensive liner notes