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The Germany-based band Rikas' new album, "Soundtrack For A Movie That Has Not Been Written Yet," promises to be their most cohesive and contemplative project to date

Comprising 11 brisk yet beautiful tracks, the album showcases the band's tight tempos and mellow delivery. "We started this record just to have fun. It's not been that easy, because so much change has happened," guitarist and keyboardist Sascha Scherer reflects. "We've had to learn to adapt... This record is more inward-looking. We were reflecting. " Scherer further explains, "I think a lot of bands have trouble staying still. When you stop touring and moving to a new city each day, you feel lost. I feel like our new album is capturing that feeling of go, go, go." This feeling of inertia contains layers: there's a sense of restlessness, but also brotherhood and camaraderie-- feelings Rikas aim to depict in each of the album's videos. "For our sophomore album, we wanted to create a very homogeneous one," Scherer continues. "Which was not easy to achieve because we have made the experience that throughout all of our records every song differs from each other. We have four songwriters who happen to be also multi-instrumentalists in our band, and that's why we don't have to put much effort into diverse record making. Instead, we had to put pressure on ourselves to make something consistent. But we also didn't want to make every song sound the same. So the concept of the album lays in its topics."The songs for "Soundtrack For A Movie That Has Not Been Written Yet" were written over the past year, adapting and shaping old snippets and ideas, as well as creating songs completely from scratch. "For some reason, when we started writing and listening back to the songs, they all shared a similar feeling of cruising, traveling, being in motion," Scherer says. "This wasn't intentional at first, but felt more and more suiting as we proceeded with the writing. We found we'd enjoy the songs most while driving in our van, looking out the window, seeing the landscapes passing by. This has something very meditating to itself already, amplified even more by a suiting soundtrack. This is the soundtrack we tried to write. The album in its entirety is supposed to feel warm, hugging, like 'being bedded in cotton.'" For the visual content of the album, the band decided to travel to San Remo, northern Italy, to capture some of the late November sun. "In a way, you could say we tried to film the first part of the movie whose soundtrack we had just written," Scherer concludes. "Soundtrack For A Movie That Has Not Been Written Yet" is a testament to Rikas' ability to adapt and reflect on their journey, offering listeners a meditative and immersive experience that captures the essence of being in motion.

Wailin' Rhythm 'n' Blues ravers THE BREADMAKERS from Melbourne, Australia, first formed back in 1989, delivering an explosive mixture of Garage Rock Revival and rockin' Rhythm 'n' Blues

Featuring members of SHUTDOWN 66, THE BO-WEEVILS, and THE PURITANS, these guys have long achieved cult status in the Garage Punk scene. Following their selftitled LP released on SOUNDFLAT RECORDS in 2020, we couldn't get enough of their wild sound. Thankfully, our prayers have been answered with a brand-new hit record from the fantastic BREADMAKERS!

The album includes two smashing cover versions: Bo Diddley's classic "She's Fine, She's Mine" and Andre Williams' "Mojo Hannah" , alongside some fabulous BREADMAKERS originals. Whether it's the catchy, wild tunes like "Marisa In Your Ear", "Existential Homesick Blues" and "Mojo Hanna", or the cool, bluesy vibes of their take on Bo Diddley's "She's Fine, She's Mine" and the moody "Stuck In The Past", these guys prove they have rock 'n' roll coursing through their veins.

"Lonesome Sundown" is yet another fantastic release from Australian Garage Punk legends THE BREADMAKERS!

More Tea Chest treasures, this time all girl bands, with Joe Meek at the controls

This series of releases has been a huge seller as the quality is superb and there are unreleased tracks, alternate takes and studio chat.

This is the gloriously remastered version of an all time classic: Dj Excel's "Just When You Thought It Was Safe".

Originally releases in the very early 90's, it has been beautifully remastered and recut, alongside some absolutely devastating remixes from the likes of The Criminal Minds, Stu Keating, Abyss, and Dj Stephano, and it also includes the four bonus beats from the original pressing.

This version is the extensive Move-E Series 2 Double Pack, which comes on coloured vinyl, and with a ridiculously cool sleeve and label design plus poster!

The scottish singer-songwriter and multi-instrumentalist James Yorkston and the english guitarist with a fluid fingerpicking touch, David A. Jaycock, already played together in the first formation of the experimental folk ensemble Big Eyes Family Players. Their encounter with Swedish saxophonist Lina Langendorf gives rise to a little gem of pure acoustic candour, perfectly balanced between chamber avant-garde and neo-folk. As on an endless autumn evening in front of a lake in Finland or Estonia, the trio's nordic soul creates atmospheres that recall hidden nostalgia. In a process of rarefied sound matter, elegiac paintings spring up, moments that flow slowly and silently in a tension that is always suspended and unresolved. Soft, crepuscular passages, at times sharp and cold guitar, but also the velvety breath of the nickelharpa, combine with a saxophone that still blows dramas of distant Norwegian fjords, but can also become more Mediterranean and arabesque. The music becomes like a warm warmth around the fire, reflecting a hidden twilight zone of the soul, in a quiet, gentle whisper between poetic abstraction and arpeggiated themes of more recognisable narrative melody, typical of a certain Northern folklore.
Co-Release with We are busy bodies.

Supergroups existed before Emerson, Lake & Palmer formed in 1970. And, as we all know well, many came after. But few, if any, matched the English trio’s chemistry and its elevated combination of virtuosity, vision, and verve. Having influenced a multitude of followers, ELP’s prowess was obvious from the start. The band’s self-titled debut stands as a towering statement of creative imagination, execution, and discipline more than five decades after its original release.

Mastered at MoFi’s California studio, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180g 33RPM LP of Emerson, Lake & Palmer presents the benchmark album in audiophile sound. Clear, dynamic, and balanced, this collectible edition honors the perfectionist approaches that both informed the playing and recording of the record.

Distinguished with black backgrounds, this reissue brings to light the epic scope, tonal depth, and mind-bending degrees of musicianship on display. Aspects — textures, nuances, effects, melodies, tempo changes — that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first version, you’ll relish the presence, separation, imaging, and crispness that help make every song come across as if the group has set up shop in your listening space.

Opening the door to the seemingly infinite possibilities of progressive rock while steering clear of excess, Emerson, Lake & Palmer achieved a rare feat in that its complex, cerebral music didn’t prevent it from attaining mainstream success. The gold-certified effort launched the career of a band that would sell tens of millions of records. It also landed a Top 50 single in the form of the ballad “Lucky Man,” whose vocal harmonies, folksy strumming, multi-tracked instrumentation, and breakthrough Moog solo almost feel quaint in the face of the other fare on the album.

Comprised of genre-defying originals and hybrid arrangements of two classical pieces, the album Rolling Stone originally and rightly said is “best heard as a whole” matches outrageous ambition with the otherworldly skills of three musicians who remain among the finest to ever pick up their respective instruments. While Emerson soon drew the lion’s share of headlines for his ability on keys — clavinet, Moog, piano, Hammond organ, and pipe organ included — Greg Lake’s aptitude on guitar and bass, along with well as Carl Palmer’s monster talents behind the kit, created a three-headed hydra that devoured everything in front of it.

That extends to the radical reinterpretation of Bela Bartok’s “The Barbarian” that begins the LP, a performance that in less than four-and-a-half minutes runs the gamut from distorted to churchy to angular and blustery. More classical flourishes, keyboard wizardry, hard-rock heaviness, and gothic signatures emerge throughout “Knife-Edge,” which reimagines music by Leos Janacek and J.S. Bach — and ultimately invites you to explore a cathedral of sound teeming with separate bursts of keys and percussion.

And did someone say “drumming”? Check out Palmer’s monster salvo on “Tank,” a rhythmic showcase that marches out with knee-bent notes and mirror-reflected passages. Or dive into the mythological suite “The Three Fates.” Replete with three parts and Emerson playing the pipe organ at Royal Festival Hall, it shoots off sonic fireworks via sophisticated arpeggios, jazz improvisations, dancing counter-meters, sizzling chords, and a few explosions. Please don’t hold anyone at MoFi responsible if your system cannot handle it; this is heady stuff.

Indeed, everything on Emerson, Lake & Palmer is there for a purpose. Whether you aim to attempt to dissect all of the notes, shifts, and polyrhythmic bluster or just want to absorb this album as one living, breathing organism, this version invites you to do both as many times as you desire.

The song titles on Van Halen's aptly titled Fair Warning don't lie. The likes of "Unchained," "Mean Street," "Push Comes to Shove," "One Foot Out the Door," and more indicate the mood the band channels on its double-platinum 1981 record — the nastiest, darkest, and fiercest album of the group's storied career. For the fourth time in four years, Van Halen throws down the gauntlet to all challengers and emerges victorious.


Sourced from the original analog tapes, pressed on MoFi SuperVinyl at Fidelity Record Pressing, and strictly limited to 5,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set plays with unfettered clarity, dynamics, and immediacy. Benefitting from superb groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and involving presence.

Taking a more controlled approach in the studio and still completing everything in less than two weeks, Van Halen and producer Ted Templeman relied on studio amplifiers to direct the sound. Further diverging from the live-on-the-floor approach of its earlier albums, the ensemble also employed overdubs to great effect. The result: Dense, stacked architecture that underlines the hard-hitting tenor of the songs — and which comes alive like never before on this reference edition that looks as good as it sounds.

The premium packaging and gorgeous presentation befit the reissue's select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, it is made for listeners who want to immerse themselves in everything involved with the album, including the iconic cover art adopted from William Kurelek's haunting painting, "The Maze."

Isolated frames from Kurelek's childhood-inspired work — including a man bashing his head into a brick wall, a guy pinning down an adversary as he delivers bare-fist blows to his face and others watch with apparent glee, a boy tied down on a conveyer belt and being sent through the equivalent of a meat saw — adorn the front and back covers. The sunnier visual disposition of Van Halen's prior efforts gives way to something sinister and tortured, traits reflective of the music within. The band members, too, are visually depicted not in glamorous shots but in a serious black-and-white portrait in which the quartet is clad in black leather jackets.

Tough, aggressive, stark: Fair Warning comes on like a series of bare-knuckled punches to the solar plexus and boasts lyrical narratives to match. Though not a concept record, the concise album revolves around themes of roughing it on the streets and struggling to survive amid dim prospects. Singer David Lee Roth reportedly penned many of the initial lyrics after traveling to Haiti and observing extreme poverty. The characters and situations populating Fair Warning reflect hardscrabble existence, last-chance desperation, and underlying danger.

Witness the crazies, poor folks, and hunters of “Mean Street”; the former prom queen turned pornographic actress on “Dirty Movies”; the menace and vice of “Sinners Swing!”; the streetwise hustle of “Unchained”; the isolation and alienation of “Push Comes to Shove”; the desire for escape on “One Foot Out the Door”: A carefree California beach party Fair Warning is not.

Having said he felt angry and frustrated during the sessions, guitarist Eddie Van Halen uses the forceful arrangements as a playground for his seemingly unlimited arsenal. Supported by a crack rhythm section and a hyped-up Roth, he performs with an almost impossible combination of punk-like intensity, technical finesse, lyrical fluidity, and unbridled emotion. The virtuoso was increasingly butting heads with Templeton and seeking a freedom in the studio he believed denied him.

No wonder he plays like a bat out of hell. Listen to the rapid-fire manner in which he slaps the high and low E strings on the 12th fret of his instrument on “Mean Street,” instilling the tune with funk flair and metal-spiked sharpness. For the pouty strut of “Dirty Movies,” Eddie Van Halen contributes slide guitar magic made possible after he sawed off the lower portion of a Gibson SG so he could reach further down the fretboard.

Related intensity, urgency, and daredevil momentum punctuate the surging “Sinner’s Swing!” A heavily flanged, delicately melodic introduction frames the attitudinal “Hear About It Later,” among the most creative arrangements of Van Halen’s career. And do riffs come any bigger or magnetic than those on the high-wire kick of “Unchained”? As for the out-of-left-field “Sunday in the Park,” an instrumental composed on an Electro-Harmonix micro-synthesizer: Who but Eddie Van Halen to supply creep factor in such an ingenious way?

Despite selling fewer quantities than Van Halen’s prior efforts, Fair Warning remains for many diehards the record that epitomizes all of the band’s immense strengths —Roth’s manic energy and tongue-wagging humor, Alex Van Halen’s rhythmic heartbeat-in-your-chest bombast, and Michael Anthony’s lucid bass lines included. Arriving when the New Wave of British Heavy Metal and new-wave movements were taking flight, it signaled a shot across the bow from a band determined to stay a step ahead and provide proof nobody could touch what it delivered.

More than four decades later, Fair Warning still sounds that alarm.

George Gadd + The Aftermath is a Nottingham-based Indie-emo four-piece band. George has been performing since 16 years old and was joined by The Aftermath in 2017. They are set to release their debut album ‘Too Many Ghosts...’ on 5th September 2025. This captures a decade of growth and includes fan favourites from over the years. Taking influence from acts such as Bright Eyes, Manchester Orchestra and Death Cab for Cutie, they create emotionally resonant songs built for catharsis and connection with fans. George Gadd + The Aftermath's DIY set has seen them tour across the UK & Europe, with a few US solo shows. They have performed alongside Frank Turner, Get Cape. Wear Cape. Fly, The Xcerts and more! They have made festival appearances at 2000 Trees, Y Not, Dot to Dot, Beat the Streets and Splendour. While also being confirmed for Y Not and 2000 Trees in 2025.

The notion of home isn’t precise, even a dictionary will offer multiple definitions. A home can be a place where you live, a place where you belong, where you originate from or a place where you’re given care; it can be a physical space, a land, a people or even a person. The concept isn’t completely universal, but everyone possesses a unique idea of what home means to them. On her fifth album, Ziúr considers not just what home symbolizes from her perspective, but the word’s resonance to the diverse community that surrounds her, and how their stories have impacted her over the years. Indeed, it’s the first time she’s felt it necessary to examine her own nationality. In the past, she’s deliberately avoided labelling herself as German, feeling disconnected from her country’s politics, culture and even the German language itself. In 2025, the idea of Germanness is in flux and progressives are under attack from all sides. The country’s politics aren’t only being turned inward by the growing throng of far-right voices, but by scared moderates, opportunists and those blinded by comfort, willing to ignore hatred to maintain their privilege. Stepping up to provide a different narrative, Ziúr scours her soul, writing and singing in German for the first time and proposing growth and evolution, not fear and regression. “I never considered being part of Germany,” she explains. “But I am.”

A solemn mood permeates the album’s opening track ‘Brown is the Color’, and Ziúr sings in measured, slow-motion breaths over noisy synth oscillations and doomed piano flourishes. Already, it’s a significant departure from her last run of releases, veering away from the frenetic, satirical chaos of 2023’s Hakuna Kulala-released ‘Eyeroll’ or its fantastical, dubby predecessor ‘Antifate’. Ziúr pulls on real world insights here, tracing her oldest, dearest musical inspirations to present her origins to anybody who might be listening. “Cold world is holding up,” she laments with a metallic crunch. “To let go of your heart, let me go.” And her voice emerges from the shadows completely on ‘Tame’; unprocessed, Ziúr sounds naked and vulnerable on ‘Tame’, curving her precise words around broken, lopsided rhythms and jangling new wave guitars. It’s pop music in its own way, inverted and reconstructed to fit snugly into her well-established sonic landscape. On ‘No Yawn’, brittle, downsampled hi-hats and industrial scrapes ping-pong around distorted riffs, provided by James Ó Ceallaigh aka WIFE; “You fail to sugarcoat your half-ass attempt,” she deadpans, “to build your promised wonderland on quicksand.” Even the beatless ‘All Odds No Chants’, a collaboration with Elvin Brandhi and Sara Persico, reveals another room in Ziúr’s autobiographical suite, mirroring György Ligeti’s enduringly influential choral works with its gnarled, dissonant vocal harmonies.

Bonbon Vodou’s third album (Épopée métèque), created by Oriane Lacaille and JereM Boucris, follows the paths of exile with lush orchestration and lyrics in French, Creole, and Gascon.

The bonbon piment (a spicy Réunionese fritter) is deceptive. Beneath its harmless appearance lies a fiery kick that can jolt you into clarity. Bonbon Vodou operates the same way. While the duo's musical influences sway between the Indian Ocean and the Mediterranean Sea, a sharp edge cuts through the tenderness of their graceful songs, often carried by the rhythms of maloya. This contrast gives depth to their third album, Épopée métèque, which takes us on journeys of exile—both across land and sea.
Oriane Lacaille is the daughter of accordionist René Lacaille, a key figure in the revival of Réunionese music in the 1970s, who has lived in mainland France for five decades. JereM Boucris’s father, from a Tunisian Jewish family, was 14 when he arrived in France at the end of the colonial protectorate. Their lives are interwoven with these paternal exiles, which they continue to explore and unravel, alongside the broader, universal stories of migrants fleeing poverty, persecution, and war.
The duo is now joined by a vibrant trio—Piment Piment (Juliette Minvielle, Roland Seilhes, and Yann-Lou Bertrand)—bringing a rich orchestration featuring guitars, flutes, brass, roulèr, kayamb, jaw harp… all set to lyrics in French, Creole, and Gascon. Their voices are joined by numerous guests, including Mouss and Hakim, Rosemary Standley, and Bernard Lavilliers. This playful yet poignant album explores themes of life and death—radiant but aware—seemingly echoing Camus: “There is no sun without shadow, and one must know the night.”

Assembled by Pedro Alves Sousa, Má Estrela is a conjuration of ideas and obsessions around dub, leftfield dance phenomena and the hypnotic potential of urban somnambulance.

In a levitating state, not exactly detached from the unease of these end times, Sousa surrounds himself by a number of accomplices from past and present endeavours to project a scrying mirror reflection of distinct languages of trance and liberation - dub's space and infinity, jungle and footwork's broken shards, DJ Screws legacy perpetually reanimated via numerous slowed down anonymous versions on Youtube and the lyricism and fire of jazz.

Temporarily a quartet, comprised of Sousa on saxophone and its electronic processing, Bruno Silva and Simão Simões on electronics and Gabriel Ferrandini on acoustic and electronic drums, after the departure of Miguel Abras, Má Estrela had in their 2022 debut album their first document of this ongoing process that’s now continued with ‘Tornada". Miguel Abras has since been replaced with Bruna de Moura and Má Estrela came back to being a five piece.

Coming out in November through Discrepant, with Miguel Abras' bass still present, 'Tornada' deepens the symbiotic connection between those rhythmic, melodic and textural particles in a mutating flux of continuities and disruptions throughout seven tracks. Featuring the invocations of Elvin Brandhi in 'All You Did', 'Tornada' makes its way amidst harmonic spectres, rhythmic debris that breathe for life and a certain, implicit idea of ritual that sustains itself liminally between the ethereal dissolution of time and the physical projection of space.

Carmen and María bring a raw, organic, and contemporary sound, where groove and rhythm are the key. Their new album fuses flamenco and soul with unique vocal harmonies and the unmistakable rhythm of María’s guitar. Each song is born from their individual universes but transforms into a shared story of roots, evolution, and emotion. From groove-infused bulerías to neosoul-inspired tangos, their proposal is innovative, authentic, and full of soul.

Unit Nine is a The Hague-based musical collective weaving together soulful melancholy, minimalist composition and soft grooves. Their debut album, Disaster Jester, will be released digitally and on 12’’ vinyl on The Hague imprint PIP Records on November 14th, 2025, celebrated with a release show at Paard, Den Haag. The album was recorded under guidance of renowned producer Tijmen van Wageningen, at The Womb Studio.

Disaster Jester revolves around the archetype of the jester, the trickster who embodies both chaos and wisdom, humour and tragedy. Across the album, music video and cover artwork, he appears as a clown in a shadowy crime narrative and as a weary detective who eventually dons the fool’s hat himself. The image becomes a mirror for the artist: observing, stumbling, laughing & fooling. The track ‘Afgesproken Plek’ features rap artists KC and MC Lost, who provided an imaginary crime skit playing on the detective persona central in the story telling of the album.

While their universal and timeless sound could travel anywhere, there’s something distinctly The Hague about Unit Nine; a mix of irony, unpolished charm, and understated design sensibility. Their city’s blend of rough edges and refined aesthetics runs through their work and places the debut album within a historical tapestry of not-so-mainstream culture and art that the sea town is known to embody.

Four producers, four shades of motion: dubby pressure, sleek trance energy, and tripped-out house psychedelia built for the floor. Our eleventh VA release brings together versatile club cuts sitting between house and trance. Familiar faces return — Tifra, Gearmater (fka Abdul Raeva) — and newcomers Olsvangèr and Earth Trax, each adding their own weight to the release.

The Cryovac machine operates independently to service the world with an original strain of techno. Our people are pioneers of their own sound and seasoned veterans of its' cause. This cause is the basis for our action and the motivation for our vinyl. Cryovac believes the vinyl format is the truest way to take in our music, and this is why we take great care to personally craft our own plates and photograph our own art. The Cryovac approach and stance make it a true oddity in a world of commodities, and we hope you realize, feel, and respect our work.

Andy Vaz is a rebel from the city of Cologne. He is a creator of techno labels that follow their own path and challenge the standard dogma. His version of the techno sound has gone from stark and funky minimalism to synth cascades and housey feels. Andy Vaz is the perfect choice to collaborate with Andy Garcia. Garcia's brand crunchy soul tech mixed with vocal nonsense is the yin to Vaz's yang. These like minds share a name, a spirit, and a drive to keep moving forward no matter the cost.

American Nightmare's "Year One" collection on 180 gram vinyl for its 25th anniversary. Available again for the first time in decades. Originally released in 2001, the Boston hardcore band’s 25th anniversary release of "Year One" pays tribute to their formative years. This collection unites their first two 7”s, originally released by Bridge 9 Records founder and then-roommate Chris Wrenn, on a 180-gram LP, with all tracks recorded by Kurt Ballou at God City. Originally designed by Jake Bannon (Converge), this edition has been reimagined by Del Jae (Futurismo Records) and singer Wesley Eisold, and comes packaged in a gatefold with an insert of handwritten lyrics and collaged images. "Year One" doesn’t just celebrate a milestone; it reaffirms American Nightmare’s enduring legacy. Their music raised the bar for emotional depth in hardcore, adding a distinctly poetic and existential lyrical approach that set them apart and changed the rules of the scene, paving the way for countless bands that followed

The duo Adjustment Bureau, return with another deeply hypnotic 12" on their own Hypnosapiens imprint. Following the label’s first two vinyl-only gems, The Others expands their sound palette between deep house, microhouse, and subtle breaks, all wrapped in a refined analog warmth.
Pressed on black 140-gram vinyl, The Others continues Hypnosapiens’ mission to showcase the minimal scene’s most sophisticated and soulful side. Functional yet emotional, understated yet timeless, crafted for DJs who value precision, patience, and space.

The cultured dub and tech label Sushitech marks its 20th anniversary by branching out with a new imprint, Wood White Sessions, which has been designed as an outlet for more intimate, home-focused listening sounds that don't stray too far from the parent label's original ethos. Dedicated to albums from long-time collaborators and core artists, the new venture expands the Sushitech sound with a softer, more reflective edge and seasoned dub craftsman Another Channel is up first. Across eight cuts rich in texture and atmosphere, he hooks up with Prince Morella, Masis and Yassin Omidi to immerse you in the most shady and pristine dub.

Pull Up is the debut collaboration between Concret (Italo-Mexican producer shaping Latin America’s underground) and Australian late-night chill-rave artist Kate Stein. Based in NYC, the duo blend post-punk attitude, minimal wave textures and house rhythm into a bold club track. With heavyweight remixes from Mike Simonetti, Lauer and Blu:sh, the EP reflects the electric pulse of the city they call home. Released on Rollover Milano Records.

Next up on Fluid Electronics, Irish producer Derek Carr joins up the fold with his “Harvest Time EP”, featuring Dutch techno staple Deniro on remix duty. Carr’s style, stretching from low-slung techno to squelchy electro, via breaks and chiselled IDM, teleports us to a zero-G headspace where shape and substance merge into an effervescing and highly stimulating maelstrom of sound. The very idea of self-reflexive dance music.

Fusing sino-flavoured harmonics with a straight out hi-tech edge, the lead single “Harvest Time” is the perfect balance between body and soul music, as it elegantly bridges the gap between that sense of weightless vaporousness and a more tactile punch. Pace itself feels relative. In the hands of Deniro, the track hatches into an eerily haunting piece of cinematic electronics, stressing further on the contrasting batucada-esque rhythms and slo-scudding synth tapestry.

The Italo-indebted “Dust Yourself Down” takes Moroder on a ride by the seashore, all arps and heavily processed keys blazing. Dipped in acid, “Rhea” pulls out a cascade of pretty aggro snares, prismatic bleeps, bloops, and a healthy dose of post-trancey waves crashing against a glassy sound design.

Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Enrico Sangiuliano)

Pioneering, avant garde yet chart-storming sound designer/producer/live performer Enrico Sangiuliano drops EP ‘Order In Chaos’ as release #1 in his self-destructing countdown imprint ‘NINETOZERO’, out 20th November. The EP’s three tracks respectively represent a triptych of sound exploring tension, release, and dissolution, with violinist and composer Vito Gatto joining Italian techno/melodic maestro Sangiuliano for tracks 1 and 3. The EP blends electronic, classical and electro-acoustic genres, resulting in a fresh, unique product that defies typical techno expectation, as Sangiuliano and Gatto explore the concept of disorder as a creative playground.

‘With this chapter, we dive into chaos – something that can be uncomfortable, but is the place in which you can find unexpected or new ideas. Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Sangiuliano)

The ‘Order In Chaos’ EP continues a momentous year for Enrico Sangiuliano, and heralds his upcoming all-night-long SOLO show at Nitsa in Barcelona (Nov 28th, tickets here). His highly acclaimed NINETOZERO label has also previously featured Charlotte de Witte, Antonio d’Africa, Mattia Saviolo, GMS, Alex Lentini, STOMP BOXX, Zimmz, Secret Cinema and About Sofiya.

Vito Gatto is a Milan-based violinist, composer and sound explorer. He is the founder of label/collective NeMu (‘Neutral Mutation’) producing Italian projects at the interface of electronic and organic sound. His self-description as ‘Making sounds, looking for silence’ makes him the perfect collab partner for ‘Order In Chaos’, which ‘embraces the paradox: chaos births order, and order dissolves back into chaos.’

‘Whilst classically trained, I have always been fascinated by the world of electronic music, in all its expressive forms’ Gatto says. ‘I use real instruments and natural sound sources processing them through electronics to enhance their unpredictability, always remembering that the core of music - whether classical or electronic - is communication and storytelling. This philosophy guided our creative synthesis on this release.’

The collaborative workflow combined remote and in-person studio work over roughly a year, culminating in these three key tracks reflecting different musical and conceptual layers.

‘Order In Chaos’ EP tracks:
Enrico Sangiuliano & Vito Gatto ‘Adaptation for Strings and 909’: A cinematic overture built from the raw intimacy of Vito Gatto’s violin, processed and layered with unquantized 909 drums. Out of grid, out of rules. Drama and turbulence surge until thunderous kicks strike like sudden storms. ‘This track symbolises both of us. Vito sent the strings, I added the iconic Roland 909. It has no structure and no grid, the arrangement is not precise, it’s a very pure track and a great example of disorder and freedom.’
Enrico Sangiuliano ‘Order in Chaos’: The title track is a pure techno weapon and dancefloor igniter: rolling, stripped, euphoric. A shape-shifting lead synth constantly mutates, flirting with disorder until the kick restores gravity. Chaos becomes dancefloor order.
Enrico Sangiuliano & Vito Gatto ‘Dissolution’: The closing moment. Strings and drums dissolve into a weightless drone. Beatless and infinite, it invites surrender into space. ‘This cinematic track slowly melts ‘Order in Chaos’, adding processed organic sounds and field recordings from the mountains.. coming back to nature, and silence.’ (Gatto).

Still #0 to go in the NINETOZERO countdown… And then what? With Sangiuliano, it’ll be something unexpected and brilliantly innovative.

back in 2020, a collaborative project came out with a collection of psychedelic dub tracks that explored acid fields through low-pressure beats and choral vocals. it quickly became a favourite from hivern discs. we're now excited to be sharing a rare set of remixes from Shackleton, reworking three tracks from the original album. expect a dubby flow, faster rhythms and echoing layers. original artwork by juns castella artwork design by arp_rpm mastered by Beau Thomas distributed via Clone

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone.

The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form.

That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process.

On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn’t help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption.

Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

Architectural - Santa Compana - Fanzine TR 002 Fanzine TR continues its journey with Santa Compana, the second chapter of the label.
Behind this project is Architectural, the acclaimed alias of one of techno's most influential figures: Reeko.
This four-track release fuses Reeko's signature sound with the vision of his alter ego, shaping a techno that is both powerful and atmospheric. Don't miss out on your copy and get ready for the official release.
Artwork by Burgalego
Masters by Human Mastering

Deey, a native of Futenma, Okinawa, is one of the most popular artists today, known for his collaboration with Leo Iwamura on "Deep Blue," and EVO, who has
made a name for himself with The Anthem, hosted by IMUHA BLACK, and is attracting attention. This LP features a remarkable album by three artists at the forefront
of Japan's underground hip-hop scene, all produced by MrRn, whose popularity is rapidly rising in the Kansai region.

"Working with these three artists, I was able to bring out the best in myself and express my passion for swaying, nodding, and communicating. "Sunshin" in particular
is a song I want everyone to listen to and feel for its vibe and message!" -- Deey

"The album title, 'Amon', literally means 'Gate of Asia.' When we listen to music, we're usually drawn to the sound and groove first, so we created a record that
will resonate worldwide, regardless of the current domestic scene. I'm not really into forming and organizing a crew, so I'd like to continue working with friends
who share Amon's concept, not just in music, but in other areas as well." -- EVO

"When you hear it, it'll hit you like lightning. Creating it with my friends, supporting each other, learning from each other, I've managed to express myself more

authentically than any other production I've ever done." – MrRn

In March 2025, "On the Love Beach" completed a highly successful solo concert in Shanghai and Beijing with Toushi Naoki.

In 2025, marking the 30th anniversary of their memorable debut album, "On the Love Beach," the band's first three albums will be reissued on CD and vinyl!
All three albums use the original master tapes, and each has been thoroughly remastered under the supervision of Shinji Shibayama for high-quality sound!

This is Nagisa Nite's second album and only live recording, released in 1998. Featuring an acoustic arrangement featuring acoustic guitar and djembe,
the band's imaginary concept is "A Tyrannosaurus Rex from Osaka." This is a realistic documentary of a solo performance held in a dilapidated wooden
apartment building in Tokyo during a scorching heat wave in July 1997, a space that was barely a free space. The band performed in the scorching heat
of July, with the venue lacking air conditioning, forcing them to play with the windows open. This resulted in "ambient music" that occasionally blended with
the sounds of the outside world and the barking of dogs. The band's determination to never perform in a place like that again led them to believe that this
unique and intriguing experience was what made this album so unique.

The environment forced the band members and the audience to remain unwavering, creating an undeniable tension in the small venue, creating a literally
"hot" groove despite the entire performance being acoustic. This experiential live album, the polar opposite of the '71 Nippon Genya Festival, is impossible
to recreate, even for the band members themselves, including the immersive recording.

The 1998 album was only available on CD, but this time, the album is available on vinyl for the first time on a 2LP!
Remastered using the original master DAT tape, it recreates the "hot" and "ambient music" atmosphere even more realistically. T
akeda's cover of Midori Mako's "Yasashii Nipponjin" is also a must-listen!

Dream Girls, Beauty And The Beast director Bill Condon returns to the movie musical in this dazzling Technicolor-hued fantasy. Valentín (Diego Luna), a political prisoner, shares a cell with Molina (Tonatiuh), a window dresser convicted of public indecency. The two form an unlikely bond as Molina recounts the plot of a Hollywood musical starring his favorite silver screen diva, Ingrid Luna (Jennifer Lopez). Based on the Tony Award-winning Broadway musical hit. "The film juxtaposes very gritty, graphic, prison scenes with equally extreme 1950s period authentic technicolor musical sequences that replicate both technicolor look and aspect ratio as the film switches between both environments. Lopez looks great and the musical sequences are glorious. The supporting cast, especially the two male leads are top shelf Oscar worthy performances. It is superbly executed.

London experimental artist feeo announces debut album ‘Goodness’, shares second single ‘The Hammer Strikes the Bell’

An impressionistic assemblage of drone, ambient, experimental electronics, improvisational music & minimalist dance music. Music of profoundly emotive, radical resonances; both tender & fearless.

This is the ultimate mini-album that can proudly be called LIP CREAM! “9 SHOCKS TERROR” has remained timeless since its original release in 1986, embodying incomparable speed and a level of perfection that defines Japanese hardcore. Opening with ‘TERROR,’ which goes straight into reverse audio and needle skips, the song structure charges forward relentlessly, shaking off the catchy, humorous, and approachable vibe that had previously defined LIP CREAM. Naoki's noisy yet melodic guitar, Pill's wild drums, Minoru's heavy yet high-speed bass, and JhaJha's intense shouts that still allow the lyrics to be clearly heard—all these elements fuse together to create powerful tracks that have reached an unprecedented sound. Recorded at Shinjuku JAM Studio, ‘9 SHOCKS TERROR’ was composed primarily by Minoru and Naoki, with lyrics and artwork by JhaJha. JhaJha's hand-drawn jacket illustration was a parody of THE FUZZTONES' album “Cinderella”. Additionally, an English translation of the lyrics is included for this RELAPSE release, helping English-speaking listeners understand the unique world of LIP CREAM. Interestingly, the title “9 SHOCKS TERROR” was revised to “9 SHOCKING TERROR” on the 2007 CD reissue by ONI Label. This revision was made after illustrator PUSHEAD, who has a long-standing relationship with LIP CREAM, pointed out a grammar error. However, the original title has been restored out of respect for the original work for this RELAPSE reissue. Following the release of this album, LIP CREAM launched their self-managed national tour “BLOODY SUMMER TOUR,” and fans who bought the album rushed to the gig. Additionally, during a show at Doshisha University in Kansai in the autumn of the same year, torches were brought onto the stage and Jha Jha set them ablaze, causing absolute chaos (footage of this incident can be viewed in the video “LIP CREAM ONLY”).

Das Italo-Disco-Juwel „For Your Love“ von Faber DJ aus dem Jahr 1985 kehrt in einer spektakulären farbigen Maxi-Vinyl zurück. Diese Edition bringt den unverwechselbaren Sound der 80er direkt auf den Plattenteller und lässt die Tanzflächen erneut erbeben.

Neben den originalen Mixen erwarten die Fans zwei brandneue, exklusive Remixe von Flemming Dalum und The Ri-Mix, die dem Klassiker frische Energie verleihen. Ein absolutes Must-Have für Italo-Disco-Liebhaber, Sammler und Vinyl-Enthusiasten

The Italo-disco gem “For Your Love” by Faber DJ, originally released in 1985, returns on a spectacular coloured maxi vinyl. This edition brings the unmistakable sound of the 80s straight to the turntable and sets dancefloors shaking once again.

Alongside the original mixes, fans can look forward to two brand-new, exclusive remixes by Flemming Dalum and The Ri-Mix, giving this classic a fresh burst of energy. An absolute must-have for Italo-disco lovers, collectors and vinyl enthusiasts

To celebrate the one-year anniversary of Summer of Love, originally a Bandcamp-exclusive, Torus released it on all streaming platforms in September. The limited edition vinyl is now available for preorder. The 12'' double-sided black vinyl is packaged in a double-holed front sleeve and complemented by a custom orange inner sleeve, paying homage to the double sun motif featured on the digital cover. The A-side displays a printed tracklist in the center label area, while the B-side is marked by a unique hand-drawn, hand-cut design made by the cutter.

Nachdem Master's Hammer 2018 die letzte Show zur Unterstützung des Albums »Fascinator« gespielt hatten, schien es, als sei die Geschichte der tschechischen Legende endgültig zu Ende gegangen.

Aber glücklicherweise wurde die Band nicht begraben, sondern ging nur in den Winterschlaf und ist nun nach 7 Jahren mit einem neuen Album zurück! Master's Hammer, die sich nie darum gekümmert haben, sich anzupassen, weigern sich, sich auf bestimmte Genres festlegen zu lassen und nach den Regeln anderer zu spielen, was zu vielen höchst originellen Alben geführt hat, die sich jeder Kategorisierung entziehen. Obwohl »Maldorör Disco« unverkennbar Master's Hammer ist, ist es wahrscheinlich ihr bisher experimentellstes und am wenigsten nach Black Metal klingendes Album.

A Larum, the debut album by singer and actor Johnny Flynn, was recorded in Seattle and is one of those rare albums that immediately creates its own world - Originally released on Vertigo Records in May 2008, this re-issue faithfully replicates the original 2LP release's pop up gatefold sleeve and is pressed on 180g vinyl Backed by his band The Sussex Wit, the album's songs were likened to the work of Fairport Convention and Bert Jansch by Rolling Stone.

Flynn has been described as "a musical prodigy turned Shakespearean actor, with the soul of a poet," and his songs offer a sweet gentility in an increasingly loud time. Close mic'ed and intimate, Flynn cast his eye over romance, religion and celebrity. A Larum became something of a beacon for the burgeoning folk scene at the time, with fellow travellers such as Mumford & Sons, Laura Marling and Noah and the Whale. Since A Larum, Flynn has carved out a singular path as both a critically acclaimed musician and award- winning actor. He has released a string of celebrated albums including Been Listening, Country Mile, and Sillion, continually evolving his sound while maintaining his signature storytelling. As an actor, he's earned accolades for roles on stage and screen, notably portraying David Bowie in Stardust and starring in films like Emma (2020) and Netflix's The Dig. He also composed and performed the beloved theme song for the BAFTA-winning series Detectorists, where his evocative music became inseparable from the show's gentle, melancholic charm. ...

Spandau20 delivers its eleventh various artists release, a sonically rich and future-facing blend of broken grooves, spatial moods and modern Detroit romanticism. Four tracks, four new angles on the dancefloor. ANNA Z sets the tone with 'Kabeljau', an eclectic, IDM-flirting workout. On the opening track, elastic rhythms stretch and snap while ethereal pads drift overhead, punctured by sudden turns and glitchy surprises. Moody, weird and beautifully unpredictable. Dajusch continues with 'Fallout', diving into shimmering Detroit-inspired chords and pristine production. Clean yet full of soul, its dreamy propulsion moves with effortless optimism. It's a track that lifts heads and hearts without ever losing its club focus. Flip the record and FJAAK welcome you into a breakbeat-infused haze. 'Your Time' pairs groovy percussion and airy atmospheres with those unmistakable powerhouse vocal chops, a warehouse anthem with a gentle cosmic touch, driving yet deeply emotional. Closing the EP, Claus accelerates the pulse. 'Moist Logic' is a faster, more urgent exploration of the techno continuum. Machine funk encoded into a forward-thrusting groove, a sleek atmosphere swirling around a sharp, kinetic core. With SPANDAU20 011, the West-Berlin collective celebrates a hybrid future that is rhythmically adventurous, melodically rich and rooted in the love for the dancefloor. This record combines Berlin grit with dream-state techno, balancing rough energy and refined emotion across four cuts that leave their mark on the floor.

Faellesskab reveals their most critical and emotionally charged work to date, a deeply personal voyage into the heart of Nordic black metal, where raw emotion and melodic depth keep reveling in sorrow and longing beauty. Translating to "Community", Faellesskab's six tracks weave a strong musical oeuvre within the Afsky canon; their walls of haunting melancholia, interwoven with vital intensity, have never been more powerful. Yet, this new work also sees the band at its sharpest in social criticism, as Ole Luk of Afsky notes: Faellesskab - Overture to the Downfall. Here, community is praised like herd animals fleeing responsibility.

A parade of moral superiority, where truth is trampled in the name of consensus. Where unity means silence, and doubt is a crime. Six songs of shame disguised as care, of freedom suffocated, and of the solitary few who still dare to question. A chorus of hollow words, where silence screams the loudest. Welcome to the celebration - the curtain hasn't just risen, it's been torn away! Afsky will mark the release with a special show in Copenhagen on October 17, graced by a full European album release tour kicking off the following week. Two singles are set to be unveiled in the lead-up to the release. While Afsky continues to refine their signature sound, this release is set to be another landmark in the band's uncompromising discography.

Agathe Plaisance, a self-taught visual artist and musician, creates a universe where the softness of folk origins gradually metamorphoses, giving way to sonic explorations that push the door open to other worlds. Her light-and-dark electronic pop plunges us into her inner world, with deeply intimate lyrics about illness, addiction, the relationship with oneself and with others. The Lynchian atmosphere created by the synth layers surround an ethereal voice, echoing the work of artists such as Cat Power and Mazzy Star. Through a live performance of continuous tension, the woman in the making explores herself and seeks to transcend her pain in order to reinvent herself. With this new album, Agathe Plaisance delivers an intense and introspective work, born from a period of deep depression. She explores with honesty her anger, losses, fears, and addictions, while also casting a clear-eyed gaze on those of others. Despite the darkness that runs through the record, glimpses of hope, love, and light begin to surface, offering a path toward healing. Deep Rest is more than just a title - it's a metaphor, a play of shadow and light at the heart of the project. The artist transforms pain into a tool for reinvention. Her folk beginnings gradually give way to more electronic and experimental sounds - a shift that mirrors her personal rebirth.