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Fukuoka, early '80s. In the backstreets of Hakata, between neon lights and moonlight, three figures shaped darkness and grey shades from the Far East. The "Moonlight" EP and all the Neo Museum rarities finally collected in one vinyl release: the most ritualistic and lunar side of Japanese new wave shines again.

Following on from back-to-back hit albums, Bristol beatmakers The Allergies keep the heat coming with Beneath This Sun. The sample-heavy LP deftly mixes up musical styles, like one of the duo’s dynamite DJ sets.

Soul-stompers ‘Bye Bye Baby’ burn the floor, while double bass banger ’Dig It Up’ adds a boom to the bap that’ll have ’90s hip-hop heads throwing their hands in the air.

Other standout moments are stolen by the earth-shaking cinematics of psych-rock-meets-rap epic ‘Resistance’, featuring Knytro – The secret weapon MC for stadium acts like Chase & Status. And ‘Leave Me Alone’ – a dancehall-on-steroids breakup record brought screaming to life by self-proclaimed "sound system baby" Aziza Jaye.

More new faces to The Allergies camp include tongue-twisting Dutch mic master, BlabberMouf. And rising stars from the Bristol scene, HybridMP & KAI, who shine with their radiant jazz-hop lament ‘Lost My Soul’.

Division 81 Records is proud to present Step Like a Giant, a collection of songs from acclaimed Swedish vocalist and songwriter Cecilia Stalin, capturing a remarkable period of her artistic journey on the vibrant UK jazz scene of the early 2010s.

Best known worldwide as the unforgettable voice of Koop, Cecilia has long been celebrated for her ability to blend jazz, soul, and lyrical storytelling into performances of extraordinary warmth and depth.

Step Like a Giant shines a light on that creative era, revealing an artist whose songwriting is every bit as compelling as her unmistakable voice.
Inspired by the spiritual legacy and boundless imagination of John Coltrane, the album is both a tribute and a personal statement. Rich with soulful vocals, adventurous harmony, and emotionally resonant compositions, Cecilia honors Coltrane's fearless pursuit of expression while crafting music that is entirely her own.

These recordings capture the intimacy and creative energy of a thriving musical community, offering listeners a timeless collection that feels as relevant today as when it was first created.

Beautifully presented on vinyl by Division 81 Records, Step Like a Giant is an essential release for jazz collectors, longtime Koop fans, and listeners drawn to soulful, contemporary songwriting.

Belgian duo Chasse have been exploring the more refined corners of the deep house world across EPs for solid labels like Mate, Exploited and Dailysession for the best part of a decade. Nothing changes on this outing for Selections - the grooves are smooth, and the details are musical. 'In My Mind' opens with dusty, smoky and soulful drums from the Mike Hucakby school and jazzy chords up top that are the perfect accompaniment. House Of Lords remixes with a slightly more pronounced groove and tech house edge, but it stays classy and deep. 'Day By Day' brings a groove built from roughshod drums and hits and burrowing chords that lock you in the moment rather than leading you forwards. 'Shine On Me' and 'Your Soul' are trad deep house cuts with an inescapably comfy feel.

We Shine In The Darkness have made a superb start to life with two first EPs that both sold out. Their third is another hot one with dancefloor-savvy reworkings set to light up summer floors. The A-side reimagines 'Beachball', the beloved 1997 Ibiza house anthem that here becomes a smooth, nu-disco bumper with fine-grain synths and an electro-funk vibe that is finished with a great vocal from Ukrainian singer Teya Flow, lending the track fresh emotional pull. The B-side shifts into 'Gulf Dream', a deeper, more hypnotic and cosmic disco sound that takes its time to unfold, before closer 'Shining Star' channels New York's Neo funk lineage into something super cool and loved up, swaggy and full of summer heat. Vital cuts for vibey selectors.

Spain's celebrated deep house outlet Mate comes correct again here with an EP that deals in rich musicality and mature emotions. HITTO aka Alberto Alba is the Mallorcan producer behind the music and his childhood love of jazz really shines through. Opener 'Beyond Words' has singing synths that speak to the soul with lovely ambient chords. Then, 'Take Me Away' brings groovy percussion and cosmic synth transmissions that make it feel all the more profound. Glenn Underground is the perfect remixer to dial up the sunshine with his astral rework of 'Beyond Words' before 'Swish' shuts down with a mix of smeared chords that radiate sun over a grittier bassline. Four accomplished cuts.

Introducing Relik.

A new sub-division from Earth Dog Records, reissuing overlooked gems from the North American underground

The ‘90s to early 2000s saw US dance music experience a uniquely innovative gold rush. Records from that period narrate a burgeoning rave-obsessed sub culture, experimenting with the psychedelic sounds of tech house and progressive, with further flirtations with trance, breaks and beyond.

Many of those era’s artefacts have been increasingly difficult to find, and even rarer to hear out in the contexts they were constructed for. Relik exists as a means to preserve the legacy of this formative era, honouring the artists and labels that helped shape an ethos and sound unique to North America, and pivotal to the Earth Dog vision, while exposing this music to a new generation of listeners.

Each reissue will be released with permission and in collaboration with the original artists.

R001: The Vortex Archives

Volume one shines a light on Gainesville’s legendary Vortex Records.
Founded in 1996 by Boyd Westerman and Kyle Hogan, lifelong underground innovators (with Boyd remaining the undisputed king of the Discogs comment section). Vortex was home to a catalog of sounds that helped define a unique tech house and progressive flavoured corner of the North American underground.

Vortex Archives compiles four of our favourite cuts from the label’s discography, that for our money showcases their unmistakable sound best; a seamless fusion of progressive house, tech house, trance and breaks.

Nearly three decades on, these tracks (and the label from where they came) are as timeless and prescient than ever. We’re honored to certify their legacy by bringing them back into circulation.

A huge thank you to Boyd for trusting us with this release and helping to bring a sample of the Vortex catalog back into the world.

Endless respect to all the OGs who archived their catalogues, continued to make incredible music and subsequently paved the way for future generations. We wouldn’t be here without you.

Mark E returns to his long-standing and widely celebrated MERC label with a new, immaculately realised suite of four new voyages into the sonic depths...

Mark's production chops really shine here, dynamic, textured and hypnotic joints for the small hours.

We are honoured and excited to share the fourth Dream Space EP with the world: Domenic Cappello - Celestial Wave.

For more than three decades, Domenic Cappello has been at the helm of Subculture - the innovative and vastly influential Saturday night at Glasgow’s Sub Club. A true master DJ with deep rooted influences from Detroit & Chicago, Dom has consistently pushed things forward over the years and remains at the cutting edge of modern dance music.

Throughout the 90’s and early 2000’s, he put out high-quality records under various monikers on labels such as Soma, 20:20 Vision & Seventh Sign. Fast forward to recent years and Domenic has been on nothing short of a hot streak - releasing music under his own name on Craigie Knowes, Clone Royal Oak and his outstanding ‘Basement Philosophy’ LP on Alien Communications.

He brings the heat once more for this record; blurring the lines of house, techno and electro to deliver four awe-inspiring cuts of electronic music.

‘The Secret Moon Party’ sets things off, nodding to a certain Highland gathering by some of Scotland’s finest purveyors of quality tunes. A warm, gritty bassline carries the track, evolving into a symphony of precise sound design that is in equal parts playful and euphoric.

Dom’s knowledge of the dancefloor shines through on ‘Acid & Love’. This early night floor filler is the alchemy of just about everything you want to hear when things are getting going. Pure warmth and bliss throughout, also holding its place played deep into the late hours.

‘We Loved Your Ears (in memory of Keith)’ is a heartfelt tribute to the one and only Keith McIvor aka JD Twitch of Optimo. Dom wrote this track as something he thought Keith would have loved, and for this one, we’ll let the music do the talking.

Keith was, and continues to be, an enormous inspiration for us and so many others. In his memory, all proceeds from the digital sales of ‘We Loved Your Ears’ and 25% of all vinyl sales will be donated to Beatson Cancer Charity and The Scottish Brain Tumour Research Centre of Excellence.

Closing the EP is title track ‘Celestial Wave’, which does exactly what it says on the tin. A beautiful piece of music and fitting soundtrack for star gazing, moon dancing and dreaming.

Reissue. "The beauty of Acid Roulette - and about Scorpion Child in general - is the steely dedication to all that is rock. You don't sound like this unless you've been swimming in a sea of ancient vinyl your whole life." - Louder Sound

Reissue. Orange transparent vinyl, limited to 300 copies. "The beauty of Acid Roulette - and about Scorpion Child in general - is the steely dedication to all that is rock. You don't sound like this unless you've been swimming in a sea of ancient vinyl your whole life." - Louder Sound

Continuing his compelling exploration of dubwise pressure at 170, the relentlessly prolific Brendon Moeller returns to Samurai Music with six stunning demonstrations of purposeful minimalism and spatial intrigue. Arriving in tandem with a second EP of introspective meditations on Samurai sub label SAIBAI, Codebreaker finds Moeller's peerless run of shadowy broken dub techno yielding startling new forms as the upstate New York artist continues to mine a rich seam of inspiration.

There's a pronounced economy of sound exacted on Codebreaker that binds the tracks together aesthetically, taken to the furthest reaches of subtlety on 'Dorian Grey Frequencies' as filigree slithers of percussion skitter across a brooding surface of sub bass with little in the way of distraction. This approach allows the microscopic detail of Moeller's engineering to shine through, as every inflection and murmur crackles with lithe movement to give each track its captivating energy.

Fractured beatdowns creep into earshot on 'Static Possession', edging towards Gescom-informed B-boy structures head-spinning in cryo-stasis surrounded by the hum of machines from a distant future and punctuated with occasional bullet points of delay soaked acid. Even when the bass starts to snarl and the hi-hats start ticking faster on 'Interzone Pulse', they're managed with brutal precision and a narrative flow of anti-build-ups that maintains a nail-biting tension throughout.

The decision to lean into a stripped-back sound on Codebreaker shows the faith Moeller places in his particular interpretation of bassweight 170, as his jaw-dropping sound design speaks volumes with the most modest of lexicons in a dialect never heard before.

The Oak Ridge Boys are paying tribute to their favorite songs without losing sight of their gospel roots in a stunning and inspiring new album, Buried Treasures. Produced by Anderson East and executive produced by Dave Cobb, Buried Treasures gathers together classic songs made popular by seminal voices such as Louis Armstrong and Nat King Cole, as well as essential songs written by Billy Joe Shaver, Paul Simon, and Bill Withers. The vocal group’s spiritual side shines through on recordings of “Deep River,” “How Great Thou Art,” and “Softly and Tenderly,” yet there’s also a hint of romance in the enduring ballad, “You Are So Beautiful.” The album’s only new song, “Buried Treasure,” was written specifically for the project by GRAMMY Award-winning songwriter Aaron Raitiere. “Every song on the album is about something that’s dear to us,” Oaks member Duane Allen says.

'Hive Mind are excited to have worked with Rio de Janeiro based label QTV, to bring you this retrospective from the cosmic joker of contemporary Brazilian music, Negro Leo.
'The music on this retrospective, which draws together songs from his 14 albums, EPs and singles released since 2012, ranges widely and wildly across genres and styles, from the urgent and angular no-wave inspired punk-funk of Niños Heroes or Ilhas de Calor, through the psychedelic hoedown of Noite Invertida or the beautiful and delicate Esferas and on to the maximalist hyperpop of more recent works like RELA or Desejo de Lacrar. Negro Leo consistently confounds, confuses, disturbs and provokes.
'His music is explicitly and fiercely Brazilian and draws on the history of black Brazilian music for inspiration - Gilberto Gil and Tropicalism, Itamar Assumpção and the Vanguard Paulista, Funk Carioca, the Boi's rhythm from the northern carnivals, the samba of the streets and the country - it's all thrown into the mix, along with free-jazz, noise and various chunks of non-Brazilian pop. Leo's music and songs serve as an essential documentation of the country's rapidly shifting social fabric in the digital age, a time in which the country and its people feel lost in a "jungle of pixels".
'Some of these surreal songs can feel overwhelming at times, like a wall of noise full of unfamiliar sounds and rhythms, but there's an unapologetic punk spirit behind it all, alongside a genius composer. It's worth pushing through the that sense of overwhelm to the place where the beauty and complexity of the composition and songwriting shines.'

Repress of since last 2025 sold out box set. Ltd edition Gold vinyl, 4 X 140g LP Box set, 24pp booklet, DL card. or Ltd edition 4xCD Bookback. Trees classic albums, beautifully packaged as a four-disc anniversary edition includes 12" book with liner notes from founder member David Costa and comedian Stewart Lee - Features two new discs of alternate mixes, early demos, BBC session tracks and 2018 live recordings in London - Includes lost demos of 'Polly On The Shore' and 'Streets Of Derry' It's now over fifty years since Trees' formation and, although 'Acid Folk' has now become a sub-category in the lexicon of record dealers and music critics, and although founder member David Costa feels the original noughties reissue helped consolidate a gathering wave of curiosity, they themselves remain in the shadows. Earth's new Trees collection brings together both albums adding shiny alternate mixes of key tracks along with a selection of radio sessions and demos, all sounding brighter and cleaner than ever before. Trees first album, 'The Garden of Jane Delawney' (1970) snuggles nicely into contemporary nu-folkies' idea of the genre, and shares some of the pastoral-whimsy that characterised The Incredible String Band or Donovan, offset by some stunning interpretations of traditional material and Bias' own songs, which were somehow part of the tradition Trees had adopted. Readings of 'Lady Margaret', 'Glasgerion' and the old standard 'She Moved Thro' The Fair', and the extended fade of the group's own 'Road', presage the explosive instrumental duelling that would come to characterise the follow up album, 'On The Shore'. There's a definite shift between the records, the second being darker and more ambivalent. Here Trees don't tell you what to think. You're left to formulate your own response to this odd, opaque music. The 'Streets of Derry' session version leans into the brain vibrating drone-groove they somehow found at the traditional tune's centre. 'Polly On The Shore', another traditional tune, is one of the definitive moments of English folk rock. This special expansive collector's edition celebrates the bands 50th anniversary. "A beautiful hybrid, Trees found a unique space between intimate folk and freewheeling psychedelia. Musically ambitious yet brilliantly balanced, they have left an enduring legacy for those lucky enough to be in on the secret" - Edd Gibson, Friendly Fires

Part of the Acoustic Sounds 40 Series
Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds!
2x Grammy-winning album mastered from the original master tape
180-gram 45 RPM double LP pressed at Quality Record Pressings
Housed in a Stoughton Printing tip-on gatefold jacket

A landmark collaboration and one of the most celebrated albums in country music history, Trio brings together three transcendent voices — Dolly Parton, Emmylou Harris, and Linda Ronstadt — in a recording that's as emotionally rich as it is impeccably produced.

Originally released in 1987, Trio was both a critical and commercial triumph, selling more than 4 million copies worldwide, topping the Billboard U.S. Country Albums chart for five consecutive weeks, and earning the Grammy Award for Best Country Performance by a Duo or Group with Vocal. It was also nominated for Album of the Year. The album yielded four major country hits, highlighted by the haunting, harmony-driven remake of Phil Spector's classic "To Know Him Is to Love Him."

Produced by legendary engineer George Massenburg, Trio is a masterclass in clarity, balance, and vocal blend. Every track showcases the trio's distinct personalities while achieving a near-perfect harmonic unity-three iconic artists elevating one another through tasteful arrangements, pristine acoustics, and song-first performances.

Now, this classic shines brighter than ever. Mastered at 45 RPM and pressed on flat, ultra-quiet vinyl by Quality Record Pressings, this edition reveals rewarding insights for audiophiles, including greater nuance, texture and emotional depth with every listen.

'What feels like a dream, a portal between worlds, a shimmering of ideas – that liminal space is the departure point for Midori Takada and Jakob Bro’s ever-unfolding musical friendship.
'On their second outing From Such A Blue Sky / かくも青き空から, arriving on Copenhagen's Loveland Music in October, the compositions are transformative, and the sounds travel between immediate emotional and abstract planes.
'The classically trained Japanese percussionist Midori Takada, later dubbed an ambient pioneer for the landmark 1983 album Through The Looking-Glass (another portal), left behind her Western classical training and found her own paths, drawing on African and Indonesian drumming, minimalism, theater, environmental music and instant composing.
'Similarly, Danish composer and guitarist Jakob Bro creates otherworldly sounds and beautiful, delicate melodies through intuitive creation and collective listening.
'On From Such A Blue Sky the music is co-composed and created in the studio over three days, from early morning to sundown. The compositions are increasingly open ecosystems, and the range of sound sources expands significantly from the puristic Until I Met You, with Thai gongs, heavy drums, ceramic flutes, electric guitar and pedals adding to the sonic imagery of From Such A Blue Sky.
'From Such A Blue Sky is the second album in a trilogy recorded at AVACO Studios in Tokyo, a studio in Shinjuku renowned for its sound works in Japanese film since 1952. The trilogy is an ongoing continuation of their musical friendship, which has already led them to duo performances at World Expo Osaka, Tessenkai Noh Theatre Tokyo, Pierre Boulez Saal Berlin and Roskilde Festival.'

2026 Repress

Get Ready to Groove to the Infectious Rhythms of Detroit-Sync, the Latest Ep From Legendary House Music Producer Gari Romalis. This Four-Track Vinyl Release Captures the Essence of Detroit's Deep House Sound, With Its Soulful Melodies, Hypnotic Basslines, and Infectious Grooves. Romalis' Signature Style, Infused With a Detroit House Heritage, Shines Through in Every Track. From the Hypnotic Groove of "Detroit Vip" to the Soulful Depths of "Stay Ready," Detroit-Sync Is a Guaranteed Crowd-Pleaser. if You're a Fan of Deep House Music, Detroit-Sync Is a Must-Have. This Ep Is Sure to Get You Moving and Grooving All Night Long. Detroit on the Move !...

“Carl layers willowy guitar arpeggios, foggy keyboards, and chimes over Windy’s murmured intonations and rippling basswork. Everything sounds fresh and unaffected in the careful hands of these two gentle souls. Pick it up, lie back, and allow it to lull you into an undisturbed reverie.” Big Takeover

At the time of original release it was written that the album "will transport the listener to other plains of reality.” (Acid Test). Meanwhile, Alternative Press called it “alluring and addictive.” and CMJ called it "expansive, daydream enhancing music.”

The pair have also recently released their collaborative album with Optigan Conservatory, which can be revisited here. A beautiful and hermetic energy larger than the sum of its parts was captured in the collaborative process of making this album. There are echoes of the earliest releases from Windy & Carl as well as refractions of the same opacity that surfaced in the early kranky catalog.

A fine time to be shining a light on these label stalwarts as the dark Autumn evenings roll in

The latest release from the Gladio Operations label showcases a new collaboration between two heavyweights of the European electro scene. This seventeenth release brings us a collaboration between Jauzas The Shining, a regular on the label, and the eagerly awaited debut of Swedish producer Obergman.

This EP, entitled “Continuum Analysis”, opens with “Analysis Of My Ego” and “Untitled”, two powerful tracks by Jauzas The Shining, featuring the classic, forceful and dark basslines, beautifully accompanied by deep vocals, very much to the French producer’s taste. The final track is by the Swedish artist, who treats us to “Kap Flora”, a journey to be savoured amidst consistent basslines and arpeggios, which draws us into a soundscape that flirts with trance sounds.

Side B opens with two tracks by Obergman: the first, “Continuum Bender”, with its intriguing and mysterious passages, gives way to “Closed Surface”, a track that slows the tempo down compared to the previous ones, and in which we hear a gentle line of more synthetic and relaxed sounds. The EP closes with the track “Con Gusto” by the French artist, a rhythmic journey with a fast-paced development, enhanced by cinematic vocals.

Fanzine Records presents Xuntanza Vol. VIII, the eighth instalment of our series For this new chapter, Promising/Youngster, Featherstone, Jauzas The Shining, Noamm and Kafkactrl come together for a five-track release that continues the spirit of Xuntanza: bringing together different artists and perspectives around a shared passion for Electro. Xuntanza Vol. VIII will be released on October 3, 2026 Pressed on vinyl and released by Fanzine Records. Five artists. Five visions. One Xuntanza.

HIKARIGASASHIKOMU translates as ‘Light Shines In’, a Japanese phrase conveying a sense of hope in a difficult place. Opening new creative possibilities for Foodman, this astonishing album is an introspective yet hyperactive body of work, representing the clarity and light found after a period of self-exploration. While this is a deeply personal record, it also captures the now-universal sound of a brain stretched between 500 open tabs, multitasking into oblivion in a world in which attention deficit is a global media environment, not merely a privatized psychological malaise. Focusing more on the use of voice, the album incorporates Foodman’s own looped vocals, singing elements of Japanese children’s songs and playground rhymes, and his everyday thoughts. Despite its charm and innocence, this soundworld leaps around manically, fractures and dissolves. Foodman’s voice repeats, disassembles, speeds up and down and is bounced around deliriously, as sound elements call and respond around him. Structurally and vocally, influences are drawn from footwork, ghetto house, and baile funk, all of which are maximally abstracted into bursts of spiralling psychedelic effects.

It’s been 10 years since ‘Love Over Will’. In that time I have been experimenting with music outside of the purely electronic, working with musicians, other tuning systems and the role of sound in healthcare, amongst other things.

Is With Us is a return to what I love most about electronic music: the combination of sound design, rhythm and emotion. It doesn’t fall into any specific category but is rather a reflection on those elements I find interesting within the context of beats-led music.

Where ‘Love Over Will’ was slightly brooding, ‘Is With Us’ strikes a more positive note, something which wasn’t a conscious decision. It is just a moment in time.

For our 30th anniversary, we drive back into the catalog to shine a light on two essential releases: Street Knowledge (log55) and Dial (log59) by Tobias.

Originally released during a time when groove, hypnotic repetition and sonic depth mattered more than formats or trends, these two EPs perfectly embody the label’s timeless aesthetic: functional yet subtle music, made for both the dancefloor and deep listening.

For this special reissue, we carefully selected the four strongest tracks from the two EPs. Four cuts that capture the core of the Tobias. sound: organic rhythms, soul-infused minimal house, raw yet elegant textures, and an unmistakable sense of groove that has aged flawlessly. A timeless classic…

Led by Sicilian musician, producer and visual artist Nicola Giunta (founder of Lay Llamas), The Thugs return with Mighty Tiger Dubs, a new nine-track album via Aagoo Records.

Written and produced by Giunta and performed with Andrea Davi, Mighty Tiger Dubs expands the psychedelic dub world introduced on 2023's Holy Cobra Dub. Blending roots dub, electro-dub, post-punk and psychedelia, the album follows a surreal narrative set on a mysterious pale green island, where Kali worship, a giant anaconda attack, underground fire rituals and anti-colonial struggle unfold through hypnotic rhythms and wordless vocals.

Unlike its predecessor, the album is built entirely around drum machines, creating a more direct rhythmic foundation for Giunta's distinctive fusion of Jamaican dub traditions with post-punk and experimental sounds. Inspired in part by Giunta's experience performing with Damo Suzuki of Can, the record features improvised, lyric-free vocals throughout.

Since emerging in 2021 as a studio-based project, The Thugs have earned praise from dub, psych and underground music circles, with support from figures including On-U Sound, Chris Reeder (Rocket Recordings) and Populous.

Who would expect that a new Krautrock release on Macadam Mambo would come from a Japanese band called Heavenphetamine?! The duo/couple have been touring all over Europe in the past two years, and started to build a serious fan base, as every performance they deliver is leaving an imperishable memory. This is on a date in Belgrade at Karmakoma that they met with Sacha. They had this album recorded and auto-release on tape but not on vinyl, and it came completely naturally to decide to release it as a LP on Macadam Mambo. The tracks on the album are new versions a bit different from the tape, let’s say a bit more mature and minimal than from the first ones recorded and give the feeling of listening to a masterpiece in the genre. It can be dark and profound but also enough light to bring back this little sun that has trouble to shine in the winter. This album has been highly influenced by their experience with the war in Ukraine, and the friendship they made there, where it has been recorded, and it express this mix of emotions due to the feeling of exasperation and the hope to see someday this conflict come to an end and the relief of the peace…

,X3" von Amina Hocine greift schrittweise, subtil und unaufhaltsam auf die Komplementarität verschiedener Klangmaterialien zurück. Durch die geduldige und feinfühlige Verschmelzung von reinen Sinuswellen, Feldaufnahmen und Klängen, die mit einer ,Nebelhorn-Orgel" (einem von Hocine selbst entwickelten Instrument) erzeugt wurden, lädt ,X3" sowohl zur Selbstreflexion als auch zur Kontemplation ein. Inspiriert von einem Symbol des dänischen Mystikers Martinus Thomsen, das die Entwicklung eines Wesens in der physischen Welt darstellt, nimmt uns Amina Hocine mit auf eine lange Reise, die mit seltener Eleganz und Anmut zwischen dem Statischen und dem Wandelnden, zwischen dem fast Unwahrnehmbaren und dem Grandiosen balanciert. Es ist eine Musik des Übergangs, die Amina Hocine uns bietet, eine Musik, in der die Vermittlung von Klang, Welle für Welle, zur Meditation wird. In ,Until the Fish Eyes Shine" wirft Espen Sommer Eide einen inspirierten, umfassenden und rückblickenden Blick auf sein musikalisches Schaffen, das er oft unter dem Pseudonym Phonophani produziert hat. Indem er die Klänge seiner frühen Jahre vor dem Hintergrund der Ambient-Techno-Szene in Tromso Ende der 1990er Jahre neu aufgreift und neu interpretiert, beschwört Eide eine Musik herauf, die alles andere als nostalgisch ist, sondern vielmehr eine Art ,geologische Schichtung" bietet, in der Epochen und Stilrichtungen aufeinanderprallen, sich überschneiden und ergänzen und so die bemerkenswerte Einzigartigkeit der Klangpalette des norwegischen Künstlers offenbaren. Das Stück bringt zudem die extreme Beständigkeit und Authentizität seiner musikalischen Vision zum Ausdruck - einer Vision, in der technologische Innovationen, die reflektierte Umgebung und gelebte Emotionen in einem eigenen Raum zusammenfließen: dem der traumhaften Musik, die immer neu erfunden wird, immer in Bewegung ist, immer im Wandel begriffen ist.

2026 Repress

Joe Davies back on Smallville, providing his skills to double the magic on the fly!

Soundscapes that will tickle your sweetspots. straight-but-quirky, far-out but still to the point – Joe is a master of his craft. His highly-acclaimed 2023 longplayer „Shields In Full Sunlight“ is still on the plates of oh-so-many heads out there, same for us. We are truly happy to present his latest vision of a cloudy night- all with Wonderful Tempo.

Comes with a stunning full cover artwork from Stefan Marx.

Faitiche presents the debut solo album by cellist, sound artist, and composer Topu Lyo: “quiet scenes from tokyo” brings together sixteen miniatures for solo cello and tape echo that oscillate between abstracts drones and rhythmic pizzicato sketches – all recorded at Topu’s Tokyo apartment. The constant traffic noise from a nearby highway has become an accompanying soundtrack for his compositions and can be heard on the recordings. Topu’s playing is marked by a distinctive idiom oriented more towards abstract electronic studio effects than classical technique.

The artist spoke to Jan Jelinek about his work:

JJ: A solo cello album may seem like an odd fit for a label that has to date released only music that is electronic in the broadest sense. But I think “quiet scenes from tokyo” complements the Faitiche repertoire exceptionally well. Its sixteen miniatures showcase the cello in all its complexity: the bowed passages sometimes recall a tape feedback drone; the pizzicato playing conjures up the percussion recordings of Moondog; and the abstract textures might be mistaken for the product of a granular sampler rather than rapid finger work on the cello. I’m constantly surprised by just how rich and varied this album is – without ever losing the charm of its sketch-like quality. Could you say a few words about the making of your album – first of all, from a rather technical perspective: what production tools did you use, and why?

TL: My production tools were very sparse. Just a solo cello and my Roland 301 Space Echo, which I only used at the end, running everything through it during mixing, tape only. After years of working with electronics, pedals, and synthesizers, moving to Tokyo pushed me toward minimizing my setup. But my aesthetics shifted too, toward simplicity. I wanted to strip everything back to just the acoustic cello and see how far I could push it — replicating some of my favorite electronic effects through extended technique: slow portamento, LFOs, filters, detune, noise. I’d also been listening to a cassette of ocean sounds for years. When I moved to Tokyo I was horrified to find myself living directly across from a freeway. Eventually the freeway started sounding almost identical to the ocean — and that ended up playing a prominent part in the recording.

JJ: That’s super interesting: mimicking electronic production as a compositional idea for the cello! You say the sound of the freeway is crucial to the album: I, too, tend to interpret steady traffic noise as a positive soundscape – do we hear the freeway on the album? I can also hear other field recordings, for example on “a street car with announcements”. Can you say a bit about how these field recordings influence your playing?

TL: Yes, you can hear the freeway on the album! The freeway is most prominent in “old trees in lonely spring”, “yuyake koyake”, and “the moon” (you can clearly hear individual cars). When I first began recording I had my balcony door shut tightly, but after a while I began leaning into the highway sound and slowly opening the door little by little to control the amount of noise. “streetcar with announcements” was a moment I was recording and a car passed by making announcements in the background. I loved how it sounded! Same thing with “yuyake koyake”, and later I realized that every day at 5pm the same song plays to mark sunset, telling children it’s time to go home. Having this bedrock of sound puts less pressure on me to put music on top or to play more notes.

JJ: It’s astonishing how much this differs from what I’d imagined: I’d been picturing peaceful landscape recordings, but had never thought of a freeway. Which goes to show how open to interpretation traffic noises are. So the room by the freeway had a major influence on the album – how are you going to perform it live?

TL: The contrast between the freeway and the beautiful landscape in my head couldn’t have been starker. I too was imagining a beautiful landscape in which to create the album, but somehow it still worked out. I've been going back and forth a lot on live shows and I think the most honest way is to have it the most stripped down. I was thinking of using traffic samples etc., but I think the duet really comes from the background sounds from every unique venue/environment. So as it stands, I’ll just be doing acoustic solo cello.

,The Long Ear" ist das Debütalbum von Noh Age _ Charmaine Lee (Parabolmikrofon, Feedback, Gesang), John McCowen (Kontrabassklarinette, Bb- Klarinette, Blockflöte) und Li-Chin Li (Sheng) bei Kou Records - live aufgenommen über drei Tage bei Brooklyn Recording im März 2026 live aufgenommen und von Randall Dunn (Sunn O))), Oneohtrix Point Never) produziert. Das Parabolmikrofon hat seine eigene Geschichte: ein Überwachungsinstrument aus dem Kalten Krieg , das dafür konzipiert war, aus der Ferne zu lauschen, um das zu orten und zu verstärken, was sonst unhörbar bleiben würde. Hier ist es nach innen gerichtet - nicht auf einen Feind, sondern auf den Klang selbst, der durch vier Vintage-Röhrenverstärker geleitet wird. Die Parabolantenne spürt Resonanzen auf, die durch den Raum übertragen werden, und stellt sich auf Frequenzen ein, die von Kontrabassklarinette, Sheng und Gesang erzeugt werden, bis sich eine Rückkopplung entlädt - ein vierter Interpreter mit eigener, unvorhersehbarer Wirkmacht. Das Ergebnis ist spektrale Musik in ihrer viszeralsten Form - verwurzelt in der Tradition von Gérard Grisey, Kaija Saariaho und Iancu Dumitrescu, doch herkommend von der Überwachungsstelle, dem Abhörposten, der Abhörleitung. In sechs Stücken, die auf kompositorischen Rahmenwerken aus zellulären Automaten und grafischen Partituren basieren, bewegt sich das Trio zwischen extremen Registerbereichen - CBC-Grundtöne gegen dichte Sheng-Cluster-Klänge , die kristallklaren Obertöne von Blockflöte und Mini-Sheng - während das Feedback durch all das wandert, sich verdichtet, auslöscht, wiederkehrt. Cover- und Rückseitengestaltung von Shintaro Kago - einem in Tokio ansässigen Manga-Künstler und Pionier der ,Ero-Guro"-Tradition, der international für seine Arbeit an Flying Lotus' ,You're Dead!" (Warp, 2014) bekannt ist. Aufgenommen, gemischt und produziert von Randall Dunn. Zusätzliche Synthesizer und Sounddesign von Randall Dunn. Gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Schablonenschnitt von Paul Gold bei Salt Mastering.

Nashville’s Jess Kerber focuses on the profound resonances of simple moments, pairing delicate acoustic guitar lines with her rich and captivating tenor. The World Is Dark, but I Want It to Be Funny, her second LP for Felte, is a deeply affecting collection of homespun poetry and natural artistry that finds the artists reflecting on personal history, the emotional intricacies of relationships, and the value of cosmic perspective. She explains,“These songs come from a space of feeling a little left behind, so a lot of the album is about realizing and accepting impermanence, and learning how to be good to yourself and to others.”
Opening with “Familiar Strangers”, Kerber gets to the heart of her greatest talents: fluid fingerpicking, emotive vocal cadences, feather-light touches of piano, and subtle harmonies. “Louisiana Song” positions a lyrical chain of childhood recollections up against the literal rising waters that will one day submerge a cherished place: “I think about being southern / and the sand on the gulf coast / When I think about returning / I am wading in a graveyard”.
Throughout The World Is Dark, Kerber navigates an emotional tightrope, fully aware of the ills of the world while trying to find connections and peaceful corners. Even with all their nuances and challenges, she suggests, our relationships are essential to staying grounded, even when we lose them. “Much of my writing is about facing the struggles head-on, balancing what you need to do to survive while remaining true to yourself,” she says. There are echoes of influences like Joni Mitchell, Gillian Welch, and Lomelda, though Kerber injects her own unique wit, wonder, and humility into every passage, allowing the listener into her head for a spell while quietly taking up residence in theirs.

Originally released 1996 on the short-lived Picnolypsis Records (DE) - Down D.C. and Analog Consciousness take a side each for a raw, stripped-back excursions into underground acid house. Driven by hypnotic drum programming, rolling low end and corrosive 303-style lines, the record captures the rough-edged spirit of mid-90s European club music. Long buried in obscurity, the record's reputation has quietly grown amongst DJs. The spotlight now shining on it further after Down D.C.'s Acid-House Part 2 was played on Shanti Celeste’s BBC Radio 1 residency.

This first time re-issue features a remix from Pacific Coliseum - alter ego of Canadian artist Teen Daze.

“These songs were written just before and while in my first stint in rehab at 20 years old. They were recorded about 4 days after I got out. Broke, walking on freshly sober baby giraffe legs, I sold my car and moved back in with my mom to make that recording happen. At a time where I had no direction, the mission of capturing sonically the love that unraveled my heart at that age became my North Star. These songs have sat in the vault for 8 years, and somehow never managed to collect dust. Anytime I’d revisit them, the glow they carried upon conception still shined bright. For years I’ve known there would be a time to let them loose, and that time has finally come. It took nearly a decade of gaining life experience and perspective to truly appreciate the beauty of young love, courage in the face of unknowning at such a formative time in a lifespan, and belief in magic that can break your heart as quickly as it can mend it. I hope these songs can serve as a reminder of the lessons we all learn from early heartbreak and that belief, and even more so, a looking glass at how our hearts are capable of forever expanding to find love that’s true.”
— Briston Maroney

“These songs were written just before and while in my first stint in rehab at 20 years old. They were recorded about 4 days after I got out. Broke, walking on freshly sober baby giraffe legs, I sold my car and moved back in with my mom to make that recording happen. At a time where I had no direction, the mission of capturing sonically the love that unraveled my heart at that age became my North Star. These songs have sat in the vault for 8 years, and somehow never managed to collect dust. Anytime I’d revisit them, the glow they carried upon conception still shined bright. For years I’ve known there would be a time to let them loose, and that time has finally come. It took nearly a decade of gaining life experience and perspective to truly appreciate the beauty of young love, courage in the face of unknowning at such a formative time in a lifespan, and belief in magic that can break your heart as quickly as it can mend it. I hope these songs can serve as a reminder of the lessons we all learn from early heartbreak and that belief, and even more so, a looking glass at how our hearts are capable of forever expanding to find love that’s true.”
— Briston Maroney

12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking tobring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!

Sampler 14 opens with Jon Cutler feat. E-Man - It's Yours (NiCe7 Remix). This remix pairs the recognisable vocal with a punchy house groove. A fresh take on a familiar classic that sets the tone straight away. Next comes Sterac Electronics - Destination Reached, with Steve Rachmad
showcasing his feel for electronic funk. Tight rhythms and an infectious groove make this a record with lasting appeal.
Side B features Swen Weber - Maya (Rerub), a powerful club track whose build and driving rhythm keep the dancefloor moving. Deep Dish feat. Stevie Nicks - Dreams then delivers a familiar moment. Stevie Nicks' distinctive voice and Deep Dish's warm, immersive house sound
give this well-known song a character all of its own.
Side C brings Kölsch feat. Troels Abrahamsen - All That Matters, a melodic track in which the vocaland gradual build complement each other beautifully. The kind of record that feels equally at home deep into a club night or under the first rays of sunshine at a festival. Next is Chew Fu feat. Steve Clisby - Purple Rain (Mousse T.'s Home A Lone Mix). Mousse T. gives this interpretation of the Prince classic a warm, soulful house groove, leaving plenty of room for Steve Clisby's voice to shine.
On side D, Jürgen Paape - We Love takes over. Playful, melodic and full of character, it adds a different flavour to the selection. Decoy & Roy - Inner Life follows with a generous dose of nostalgia and a sound that perfectly reflects a love for Belgian club classics. Closing the sampler is The Mackenzie - Higher In The Sky, whose dreamy melodies and uplifting energy provide a fitting finale.
Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, inspired remixes and lesser-known gems, brought together withthe same love for music that has driven 12 Inch Lovers' events for 15 years.

Blame The Mono makes a powerful debut on RAW with their latest EP, Pace Refinery. Capturing the Franco-British duo at a defining moment, this project sharpens their hybrid European identity into a focused and forward-looking statement. They remain a shining beacon of inventiveness, balancing driving club energy with refined textural detail. Spotify, Apple, etc: bfan.link/pace-refinery Mastering : Charles Accarissi released April 9, 2026

Rapidly gaining momentum, Drumcode’s new DC4 series returns to serve up a collaborative feast for its fourth edition.

Since debuting in summer 2025, DC4 has done exactly what it says on the tin: serving up four elite tracks that deserve the spot to shine.

You know you’re going to get A+ quality when you cue up a Victor Ruiz & Alex Stein collaboration. The Brazilians have a long history of studio jaunts and they deliver the goods via ‘Core’, a brilliant brain-scrambling outing with a strong dramatic arc.

Charles D & Weska follow up last year’s ‘The Answer’ on 1001 Recordings with ‘Can’t Get Enough’ feat. Bexxie. With a foot in prog and techno alike, this is driven by low-slung grooves and Bexxie’s sexy vox, packing an exhilarating energy throughout.

Enter two Drumcode debutants – SCRIPT & OKAYVAL. The former is a fast-rising American artist who is coming off collaborating with Brazilian superstar ALOK, while the latter is a Colombian born, US-based artist whose earned gigs at EDC Vegas and Tomorrowland this year. ‘LIKE THAT’ is a high-energy jam marked by tight rolling percussion and a sharp vocal loop designed for peak-time impact.

Another pair of fresh faces land on the comp as Martin Costas & Gabriel Gil drop ‘It’s All Around’. Lock in for a pulsating slice of prog driven by hypnotic rhythms and lush melodic textures. A versatile cut fit for a variety of party situations.

Roundhouse makes its first statement on wax. Way of the Warrior finds Lukey exploring the space between Japanese fighting culture and the raw energy of South Central Los Angeles, translating those influences into five club-focused cuts. Rolling tech house grooves, acid pressure, analogue textures and West Coast vocal references shape the EP, while a lone breakbeat electro excursion briefly shifts the pace before returning to the record's driving core. A confident introduction to the sound and direction of Roundhouse.