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Super limited (1000 Global) Silver Die-Cut vinyl first pressing, shrinkwrapped with hand stamped 'cafe' napkin obscuring the cover. Please preorder asap.

On Cafe Paradiso, Mykki Blanco is completely reborn, trading the persona - driven theatrics of his previous releases for something more interior and exacting. The record draws from the diverse, banal and yet idiosyncratic contexts of the artist's life in transit.

"Chameleonic" is one way to describe the artist known as Mykki Blanco, who has played many roles through his storied career: a rapper, a poet, a magazine editor, an advocate. Perhaps "fearless" better describes him; with high profile collaborations from the likes of Charli XCX, Teyana Taylor, Basement Jaxx, Blood Orange, Big Freedia, Kelsey Lu, Michael Stipe, Arca and Anhoni, Mykki has been recognised as a pioneer of queer-centric hip-hop who resonates across musicians of many genres and generations.

This album is Mykki at their most direct - a coherent statement with collaborator FaltyDL and a massively listenable album for fans of LCD Soundsystem and New York Punk, packaged in striking 'Napkin covered' deluxe vinyl for a super-exclusive first run

Seit ihrer Debüt-EP "Billstedt" aus dem Jahr 2020 schrauben Christian Klindworth, Antoine Laval und Lars Brunkhorst an ihrem ganz und gar eigenen Sound zwischen Postpunk und melodienverliebtem Indierock. fluppe haben mit "Blüte" (2021) und "Boutique" (2023) zwei Alben veröffentlicht. Sie sind beim Reeperbahn Festival aufgetreten, haben für Turbostaat eröffnet, doch vor allem sind sie unermüdlich durch die Clubs getourt und haben ihre eigenen Shows gespielt. Aber klar, auch an fluppe schrappt die Polykrisen-Gegenwart nicht einfach vorbei, zumal es vermutlich unumgänglich ist, dass hier und da mal Cure-Gitarren durchschimmern, wenn man ein Album mit Produzent Tobias Siebert (Klez.e, And The Golden Choir) aufnimmt.

The live EP arrives on vinyl via a collaboration between boutique label Crafting Room Recordings (Maximilian, Soft Top) and indie festival Left of the Dial. The live record follows a massive 2025 where a limited vinyl run of the Spill EP and debut EP 'Hullo, Reality!' both sold out soon after their releases. With champions already found at BBC Radio 6Music (Steve Lamacq, Emily Pilbeam) and earning a spot on the 2026 artists to watch lists for DIY, DORK, and Far Out, ELLiS.D is rapidly cementing his status as one of Europe's most striking, tireless and "sought after live acts" (Far Out Magazine). "As our first sold- out headline show outside of the UK, it felt like a real milestone for myself and the band. We wanted to capture the amazing connection we've felt playing to European audiences, with nowhere better to do it than the basement of a boat in Rotterdam. Each of the tracks on the EP have been staples of our live set for a long time but switching into the mindset of performing and recording for the EP gave us a fair few jitters pre-show. Once we crashed into 'Chasing The Blue' that all melted away. Elmo on sound did a brilliant job capturing the energy of the performance and the audience gave us the response we were hoping for!"

“The first three are innocent in a way, because we didn’t have an audience when we were making them,” Oberst says. “But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash.” Those two albums came out simultaneously. And their lead singles – “Take It Easy (Love Nothing),” from the austere, remote Digital Ash, and “Lua,” from the warm, folky Wide Awake – debuted in the top two slots on the Billboard Hot 100. “First Day of My Life,” also from Wide Awake, would later be voted the Number One love song of all time by NPR Music’s reader’s poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band’s careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, “When The President Talks To God.” These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era’s releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of “harmonica and mandolins – folky vibes,” Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

‘A Wolf In Sheep’s Clothing’ (2006) is an unusual album, first because it does things with classical music that aren’t usually done. The songs Josephine Foster sings here are classical pieces, written (the texts are German poems) by some of the greatest German composers of the 19th century, Franz Schubert, Robert Schumann, Johannes Brahms, and Hugo Wolf. “Foster has found perhaps the most appropriate vehicle yet for her singular and affecting talents – 19th century German art-songs, wholly reconstructed here via Foster’s skeletal arrangements of voice and guitar” Pitchfork. Remastered and repackaged with new artwork.

A beautifully observed baroque masterpiece, part dream pop, part futuristic psych-folk with ambient synths and Josephine Foster’s plaintive guitar. Godmother is a slowly unfolding song cycle that marries a myriad of previous musical escapades with electronic experiments. Exploring new horizons on this record, it sees Foster at her most expressive and hypnotic. Now back home in the mountains of Colorado, Josephine’s 20-year journey to this new nirvana becomes enthralled further with a symphony of synths that sound like they are played in some neighbouring netherworld, through cotton gauze. It’s music that’s devotional, spiritual, a fitting soundtrack for any journey within or without, a means to experience places and vibrations beyond the boundary of time and space. Discussing the record, Josephine explains “You may notice me travelling a bit further sonically from our precious earth, aspiring to rise into broader astral perspective, to contemplate the light and origins of it all, as I do believe there is a grand source that is the sum of it all, us all. Performing all the parts on this recording, you may sense me focussing gestures of my singing into the instrumentation, which is a very great relief indeed, as the voice has such grand dreams to be set free.” “With her haunted, theatrical delivery, Foster cuts an arresting figure.” Pitchfork // “Out of time yet timeless” The Wire

Ken Kesey’s Ultra Rare 1966 studio recording of the Acid Test with The Grateful Dead . Legendary documentation of the 1965-66 Bay Area Acid Test scene from 14 hours of the actual trip (recorded in a studio). Lots of amazing mind games and word play with Ken Kesey and Ken Babbs in good form, ad libbed poetry, fractured harmonica solos, tape loops and the Grateful Dead lurking in the background. Originally released in March 1966.

When one thinks of the terms “mass” and “massive” in music, especially contemporary music, perhaps certain aural images come to mind: generic metal heaviness; dynamics-bereft noise; ear-battering dance floor madness; the multitudinous forms of drone darkness. All of these are massive in their own fashion. However, this newstudio album from 7FO (pronounced “nana f o”), a composer-performer based in northern Osaka, investigates and inhabits a different aspect of the massive. A glorious combination: dense low frequencies; sculpturally condensed blocks of sound, subtly swinging gravitational fields ― and a surprising sense of rolling and rollicking joyfulness and play. “Massive” doesn’t have to mean “dark” ― consider the sun. This is the third 7FO release on EM Records, following the well-received Ryu no Nukegara (Dragon's Husk) (2018). On these 2024-25 recordings, 7FO focuses his drum machines, synths and musical vision into eight compact structures which were partially inspired by the intense essence of American pre-war blues and the shining soul of traditional Ethiopian music, especially the works related to King Solomon and the Queen of Sheba. While not obviously evident, the glowing core of these musics has been captured and condensed here; another inspiration is the massive sculptural 1980s works of Yoshi Wada ― although there are obvious differences, there is a similar material tangibility to the vibration of the air. The final piece, “Shirohebi”, is an update of the b-side of 7FO's 7-inch single "Healing Sword" (2023), featured on Henry Rollins’ radio program. We invite you to experience and enjoy these eight massive blocks of sound, imbued with 7FO’s heartfelt warmth and humour, dense but not dark; shifting, rolling, appearing and disappearing: 7FO once picked up a roadside stone, which split as it sat in his palm. This experience, referenced in the release’s title, hints at the metaphysical magic of music, a realm beyond mere coincidence: even the massive density of stone can split, and reveal the magic within. Available on CD, LP and digital download.

Crypt Sermon kommen mit ihrem zweiten Album, dass dem Debüt in nichts nachsteht oder um es auf den Punkt zu bringen - DAS hier ist eine Ansammlung epischer Doom Metal & Heavy Metal-Momente, glühender Stahl im Stile alter Helden wie Solitude Aeturnus oder Candlemass wie man ihn sonst derzeit nicht so schnell findet! Die Texte befassen sich mit doom-typischen Themen wie Glaube und Familie, Leben und Verlust und natürlich Stärke und Stolz. Zwischen donnernden Riffs und klagenden akustischen Momenten pendelt die Musik irgendwo zwischen Epic Doom und TRUE Heavy Metal. Erneut aufgenommen und gemischt wurde das Album von Arthur Rizk (Power Trip, Eternal Champion, Sumerlands, etc.).

Carín León bricht mit „MUDA“ neue Wege – eine kühne, vielschichtige klangliche Entdeckungsreise, die sein Universum genreübergreifend erweitert und dabei stets in seiner unverwechselbaren DNA verwurzelt bleibt. Der aus Hermosillo stammende Künstler verwandelt Herzschmerz und Erlösung in Hymnen, während er sich neu erfindet und damit Jahre der Entwicklung sowie den Abschluss eines prägenden kreativen Kapitels markiert. Carín León steht an der Spitze einer neuen Welle des regionalen mexikanischen Musikstils und verbindet Tradition mit emotionaler Offenheit. Das 14 Titel umfassende Album „MUDA“ spiegelt ständigen Wandel wider, erkundet verschiedene Genres und beinhaltet Kollaborationen mit Rawayana und Juanes, wodurch er seine Wurzeln als furchtloses, genreübergreifendes Statement weiterentwickelt.

LOVE, das neue – und möglicherweise letzte – Album von Dexys Midnight Runners, ist eine leuchtende Sammlung zutiefst persönlicher Geschichten aus Kevin Rowlands Leben: über Familie, Liebe und die Schicksalsschläge des Daseins. Songs aus drei Jahrzehnten treffen auf brandneues Material – von der irischen Einwanderer-Kindheit über einen Brief an seine Enkelkinder bis zur Zeit mit einem sterbenden Elternteil. Liebeslieder im weitesten Sinne, jenseits gängiger Pop-Romantik: keine Wird-sie-wird-sie-nicht-Romanze, sondern etwas Tieferes, das die volle Bandbreite menschlicher Beziehungen und Emotionen abbildet.
„Ich dachte plötzlich: Das sind alles Liebeslieder – nur eben verschiedener Art", sagt Kevin Rowland über die Entstehung des Konzepts. „Da wusste ich: Es muss LOVE heißen." Ein Liebesleben in Songform, erzählt von jemandem, der mit seiner wunderbaren Autobiografie Bless Me Father bereits gezeigt hat, wie offen er über sein Leben sprechen kann.
LOVE ist zugleich das erste Album unter dem vollen Namen Dexys Midnight Runners seit Don't Stand Me Down (1985). Produziert von David Holmes – langjähriger Fan und Wegbegleiter der Band –, mit Songwriting-Unterstützung der langjährigen Weggefährten Sean Read, Mike Timothy und Jim Paterson sowie Streichern von Brian Irving.

DESCRIPTION
Lone Bison / Nick Bonell lives by the sea in Ramsgate. Mainly a guitar player and pedal freak, Nick bought a used Korg MS20 and fell in love with synths. As one half of Stuntmen, Nick released the sample-heavy single 'You're the Beat Find' on the groovy Tummy Touch label, which led to him scoring three Ford adverts in the U.S and a few pieces of well-used production music - which paid for more synths and pedals!
An album, 'Transistor Memory' and single 'Drugs' came out via Dom Martin's brilliant Polytechnic Youth records in 2021. "Wave Construction" was released by Castles in Space in Autumn 2023. An album for the CiS Subscription Library entitled "Mechanical and Electrical" was released in late 2024.
Nick Explains: "After recording "Transistor Memory", "Wave Construction" and "Mechanical and Electrical" pretty much back-to-back, I wanted to change my sound palette a little. I started programming my Hydrasynth Explorer in obsessive detail and was also drawn to using my voice, in a sampling kind of way at first. Sampling my voice then shifted into recording more straightforward vocals and writing proper songs again. "Rise Up" started as a field recording in my local park and then some wonky piano loops with a cheap mic – somehow a song arrived. I’ve always really liked really concise records, so I got interested in packing lots of synth textures into a three-minute pop song. As the record progressed, I did less leaning on vocoders and harmonisers and developed the courage to just do more up-front vocal mixes. Things like Maths and Minimal / Maximal are more groove-based and came from recording 20 minute drum tracks then jamming bass guitar over it then editing it all down and adding loads of synths. Oh, and there’s a bit of James Williamson era Stooges at the end of Minimal / Maximal – I was a bit nervous about playing garage rock guitar on a Castles in Space record but Colin told me I would be ‘fucking mental’ if I didn’t end the record with it."
Lone Bison's music is influenced by Krautrock, electronica, post-punk, soundtracks, a splosh of modern classical/minimalism and post-rock. He's a hot genius.
The album is preceded with "The Power" which will be available on streaming platforms as well as on our Bandcamp for those who want to listen or pre-order the album. There's a fantastic remix from MAPS included as well.

Die australischen Rockband Airbourne war noch nie dafür bekannt, klein zu denken. Auf ihrem
sechsten Studioalbum, der nach der Band selbst benannt ist, hat sie sich allerdings noch mal selbst übertroffen. Airbourne – ein Name, der zum Synonym für bombastischen, biergetränkten, gefährlichen und sexy Rock’n’Roll geworden ist. „Dieses Album vereint alles, wofür wir stehen, in einem einzigen Werk“, erklärt Ryan den Titel. „Es ist das beste Album, das wir überhaupt machen konnten.“

Zusammen mit dem starken Produktionsteam aus Brian Howes (der 2013 "Black Dog Barking" produziert hat) und dem Toningenieur Mike Fraser (der an „Breakin’ Outta Hell“ von 2016 und „No Guts. No Glory.“ von 2010 mitgearbeitet hat), machte sich die Band im Music Farm Studio im „Dschungel“ außerhalb von Byron Bay an die Arbeit. Der Komplex verfügt über das originale Neve-Mischpult aus den Alberts Studios, auf dem Bands wie AC/DC, Rose Tattoo und The Angels ihre wegweisenden frühen Alben aufgenommen haben.

Das Ganze präsentiert sich in einem sorgfältig gestalteten Paket, gemischt von Zakk Cervini (BMTH, Architects), das die Leidenschaft, das Feuer und die schweißgetränkte Gefahr einer Band auf dem Höhepunkt ihrer Kräfte einfängt, komplett mit Schlagzeug, das wie Kanonen knallt, und Gitarren, die wie Kreissägen schneiden.

„Alive After Death“ und „Send Me To Rock’N’Roll Heaven“ sind eine Hommage an die verstorbenen Idole der Band; letzterer Titel bezieht sich auf Lemmy, Doc Neeson von The Angels, John Bonham, Bon Scott, Little Richard und weitere. Joel schrieb den Text zum mitreißenden „Alive After Death“ eines Abends im Tourbus, als er darüber nachdachte, wie die Musik dieser Legenden sie unsterblich macht. An anderer Stelle gibt es Geschichten von unterwegs („Bogota“), Songs über Trotz und Nicht-Aufgeben („Last Man Standing“, „Hell’s Got No Vacancy“, „Gutsy“) und noch mehr Sex („Sky High“). Jetzt müssen Airbourne nur noch auf die Bühne zurückkehren, in der Gewissheit, dass sie ihr bestes Album aller Zeiten mitbringen.

STEELOVER is a Belgian Melodic Rock / Metal band. The band was formed in the early 80's by three friends living in Liege, Belgium, the guitarists Pat Freson & Mel Presti and the bassist Nick Gardi. In search of a drummer, they threw their sights on Rudy Lenners (Scorpions) upon his return from Germany, having left the famous German band Scorpions. Rudy proposed to contact Vince Cardillo, a singer who had already on the one hand good experience and on the other hand he already recorded an album in London, “It will fit perfectly” explained Rudy. They all felt the magic during the first rehearsal. In no time, Steelover recorded their first album "Glove Me” which was released under the Mausoleum label. This album sold over more than 400.000 copies of which more than 76,000 in Poland. They followed with a tour across different countries like The Netherlands, Germany, France and Belgium including Forest National opening for Bon Jovi and KISS. Vince decided to leave the band. Replaced by Dani Klein, the second album was recorded but never released. Dani left the band after a short time with Mel Presti to start a new band under the name Vaya Con Dios.
The band came back in 2017 with a new E.P. (including single "Wild and Free") mixed by the legendary producer and and mixing engineer Tommy Hansen.
In 2019, Rudy Lenners greeted the audience one last time before retiring from his musical career. Vince had returned to the band at this point…after the show Vince, Pat & Nick decided to continue the Steelover adventure and in 2022 released the album “Stainless” on the Escape music label (ESM368). This was a great metal album and fans old and new longed to hear more. It’s now 2026 and Steelover are back with a brand-new recording featuring 11 tracks of hard rock / heavy metal. The band are very much in the style of that 80’s metal sound, a sort of mixture of Scorpions and Saxon if you like. These new songs all hit the mark making “Devil’s Highway” an album that needs to be checked out…

Shoal corrals three original solo productions into ISOTOOP’s fourth record, each demonstrating refinement of the artist’s sound and technique, finished by a fitting retelling of ‘Interlocking’ by Antony Linell.

It begins with helical hypnotism; ‘Strange Blue Knots’ drives directly forward on muscular bass, but pointillistic synthwork creates an aural illusion of a spiral aperture tightening; the landscape remains broad, but focus is drawn down to the loci of motion. All containment is blown away by the incomparable force of ‘Roxellana’. Here, the forward motion is not illusory but the irrefutable command of hurricane tailwinds. Thunder heralds full-band waves of unbridled sound, and though the rudder is surrendered to the billowing storm, no part of the weapon is directionless chaos.

Shoal’s tale concludes with ‘Interlocking’, a step back from the monstrous energy of the preceding track (anything and all would be); attention is built again on guile and quiet magnetism, commonly felt attributes throughout the artist’s repertoire. This concept of restraint as force receives a sharpening by Antony Linell, whose sonic influence is present throughout the record, like fossilised footprints. In the calm, sheltered lee of the mountain, the slope behind the wave’s punching crest, Linell’s calmer, stripped-back version feels like a fireside retelling of a myth; still full of the magnitude of the original events, the space surrounding the action is foregrounded. 

Every tale may be reduced to the same core elements: the hand; the knife it holds; vivid silence presaging the moment of action. Fitting that the tale of three parts is summarised by a fourth, wider perspective.

After making waves in the underground with their first release, psychedelic techno explorations from Winkles, A Sky Full Of Numbers head to the shoreline with a five tracker of misty electronica from Japan’s The Rituals, the new collaboration between Tasoko and DOLTZ. Across acclaimed releases on Explore, Bitta, and Delsin, the duo have separately explored deep techno, ambient, acid house and IDM, showcasing innovative sound design and spacious, understated grooves. For AFSON, the duo apply their unique point of view at a lower tempo, pulling away from the peak time to deliver a shadowy journey through dewy electronics.
Opening transmission 503M feels like tuning into a damaged frequency somewhere beyond the cloud line. Misty lead synths slither through blown circuitry while buzzing sequences and short-circuiting percussion crackle against purring bass pressure below.
There’s an eerie electricity in the atmosphere, as if the track’s been exposed to too much heat and left glowing softly in the dark. From the opening bars, The Rituals instantly establish their ability to make techno feel both mechanical and hallucinatory.
Ugan sees the duo descend deeper into the haze. Reverb-drenched synth motifs hover like distant lights through thick fog while a propulsive dub bassline locks into loose electro-funk rhythms beneath. There are echoes of hauntological electronics and early IDM experiments here, but The Rituals avoid nostalgia entirely, steering the track instead towards something crepuscular and alive.
Stepping out of the shadows, Broken Frog Lamp pushes forward on a rolling rhythmic framework as melodies slowly force their way through layers of sea mist and static interference. Atmospheric without losing momentum, the track balances submerged emotional weight with hypnotic forward motion.
The mood softens but never dissipates on Salty Air, a damp and dewy excursion into dubbed-out psychedelia. Rainfall ambience, skittering stone percussion and swelling pads fold around sliding sub bass and filtered stabs, while jazzy cymbals and syncopated hats gently pull the track forward, as the condensation clings to the hardware.
Closing cut “Night, Castle, Reflection” drifts into darker territories, where redlining drums and pulsing low-end pressure throb beneath thick layers of saturated texture. Woozy synth work smears against tightly controlled rhythms, creating an immersive and slightly uneasy atmosphere that closes the EP at its most introspective point.
Taken as a whole, the EP transports you into the midnight hour, when the comforting embrace of stillness can easily nudge you towards hallucination, dissolving the boundaries between dream state and dancefloor hypnosis.

Ondrǣdan is the second aesthetic proposal by Sediments’ owners Pajaro Dune. This work is the result of a deep artistic experimentation and a thorough compositional refinement. Some of these materials have been distlilling in the studio for almost a decade of sound engineering and constant debate to make the experience much more profound.

From old English language, ondrǣdan it is a direct reference to our most primordial fears. Both an emotional yearning and a postapocalyptic kubriesque tale, the five works of this record capture five shades of rhythm and mood, where ambient, dub and downtempo meet in immersive narrative experiences. All them crowned with the luxurious sculptural artwork by Blanco Anyò who forces us look beyond the visceral to intuit the transcendent.

Pajaro Dune is the product that combines the creative minds of Jaime Romero aka Estrato Aurora and David Ortolà aka Syoqh aka d_o_ppelgaenger. More than half a life producing together from València, their multifaceted approach crystallizes in renowned works for Alpenglühen, Grabaciones Perpendiculares, The Monkey Bar, Eleve Music and now their own label.

|| We
become more from what is left,
deliver else than just the now,
build sound stories for the then. ||

Italian-Iranian DJ/producer Sciahri lays down a deeply hypnotic seven- track EP on return to Mutual Rytm. Heading up the agenda-setting Sublunar label, which is one of Mutual Rytm boss SHDW's personal favourites, Sciahri has been deep in the scene for more than a decade ever since he turned heads with a debut on Ilian Tape in 2014. Well respected for his carefully balanced love of the classic sound with new school influences, always delivering cuts with a refined and personal touch, highlighted and showcased via his widely-loved ‘Pareidolia’ release series. Returning on the label following his appearance on the ‘Federation of Rytm IV’ compilation, he lands with a freshly evolved EP that kicks off with the much hyped ID, ‘Moonwake’. That cut is built on robust, rumbling drums and layered up with flashy synths that bring stark futurism to the dance floor. ‘Liminal’ follows a similar linear path with musical drums and synths that twist and twitch, firing your synapses while your body is locked to the rhythm, before ‘Night Sentinel’ transports you to a more eerie world of anxiousness and tension - the synths are spooky, and the sonar pulses keep you on edge as immersive drums race nonstop. ‘Unmoved’ lands heavy, the bulky kick drums coming on like a storm with howling synth winds adding to the all-consuming atmosphere. ‘Too Much Time’ closes out with a wall-rattling groove and subtle synth motifs that creep in the shadows. As always with the label, digital cuts ‘Silent Frontier’ - which gets dancers on their toes with a backlit synth glow - and ‘Louisiana’ - which brings a more psychedelic energy and hard, hammering groove, rounding out a stylish, meticulously produced offering.

LP includes double-sided print insert. Thorn Wych makes instruments from tree branches; bowed strings, flutes and percussion that she runs through a chain of loopers, pitch bending glitches and delay pedals. Strange songs sung in tongues, mashed up chewed and spat out. As the adder weaves her way through the dirt and mycelium hum, we play in the mud and converse with insects. 'Aesthesis' is Thorn Wych's debut LP that she recorded and mixed herself at home, often performing long improvised pieces, then later editing them down, cutting and pasting and overlaying other instruments. This album takes inspiration from such works as 'The Secret Book of John', the 1940 film 'The Thief of Bagdad', and Lata Mangeshkar's 'Meera Bhajans'. She dedicates her work to the Divine Mother Asherah, Holy Spirit, Guardian of the Tree of Life.

Multi-award-winning singer and songwriter Jorja Smith announces her new album, What Are The Odds featuring sole production from P2J and collaborations with Afrobeat star Wizkid and Grime icon Devlin.

With her third album What Are The Odds, Jorja continues to build on her legacy with a euphoric offering rooted firmly in dance music. Confidently channelling UKG, Grime, 2Step, Funky House, Soulful House and Afro House, this thrilling, pulsating record rarely dips below 140 BPM.

This is music to make you move says Jorja. I want people to hear it on the dancefloor, where the sun is shining, in the car and in their headphones on the night bus home. This is a record for driving and vibing.

2026 Repress

Rhythm by Nature is back with Somefink Old, Somefink New, a three-tracker from seasoned producer Grant Dell that bridges past and present: sketches first laid down in the mid-2000s rediscovered and reworked alongside a brand-new cut, forming a dialogue between memory and renewal.

The EP opens with Feel Me?, a deep tech construction driven by a heavy low-end, its groove unfolding patiently while flashes of disco glimmer through the framework. On Light of Day, Dell shifts into full deep house territory — spacey pads and floating strings suspended across open structures until acidic stabs break through, twisting the track into brighter, playful directions. Closing with Death Disco in Dub, Dell channels the hallmarks of his Tribalation project: dub-infused atmospherics, light percussion and echo-drenched fragments circling around a hypnotic core, equally suited to open or dissolve a night.

With Somefink Old, Somefink New, Rhythm by Nature traces the arc of an artist deeply embedded in the underground, reuniting past forms with present gestures in a release that reaffirms the label’s consistency in quality and commitment to timeless club music.

The breakthrough hit that cemented THE SOUNDLOVERS
as one of the leading international dance acts of the ’90s.
A timeless anthem about overcoming loneliness,
embracing emotional growth, and finding the strength to
move forward. Beneath its uplifting dance groove lies a
message of hope, resilience, and self-discovery.

Follow up of FREED FROM DESIRE, LET A BOY CRY is a
powerful statement about emotional freedom, staying
true to yourself and breaking free from the society’s
expectations. Beneath its iconic ‘90s dance sound lies a
much deeper message: a celebration of vulnerability,
individuality, and the courage to be yourself.

For the orbit travelers comes the new instalment by the Spanish maestro Do or Die. This very well-known figure in the world of non standard audio frecuencies has crafted 4 trance infused weapons for different occasions and settings one might find themselves in. The appropriate clothing attire is needed for this space journey without any holes or tears in, so it can be assured no outside force will penetrate through. All four tracks has been crafted immaculately with the unified idea of orbit travel and translates this epic journey well. Ahead of the listener is an important trip from the moment needle will touch the grooves to the very last second of the title track located on the B side. It is a great honor to welcome this talented artist to the label family roster and marks a beginning of a beautiful story that will be told through the medium of music.

“Ruins are the style of our future cities, future cities are themselves ruins.” - Izosaki Arata

A note from Lawrence English: Nostalgia is not an ideology, though in this moment, we could be mistaken for thinking it might be just that. Over the past years, the idea of nostalgia has been filtered through various political and technological lenses and has become a tool used for forgetting, rather than remembering. Instead of embracing histories’ complexities and inconsistencies, this version of nostalgia seeks only singular recollection. This contemporary phenomenon of nostalgia has become a methodology at best, and a weapon at worst, used to erode the past and project forward a collapsed and unimaginably sanitised version of things, places, and ways of being from former times. It’s this projection that sees it playing a mounting role in a social pathology associated with reducing the imagined possibilities of future.

The Rest Is My Ghost is a record that interrogates the manifestations of this reductive futuring and celebrates those that have tried (and failed), and those who continue to push back against decayed and revisionist positions. It’s a record that considers the weaponisation of nostalgia for the purposes of cloaking possible futures.

In recent times, I’ve proposed a term for this weaponised use of nostalgia, something I have called Acid Nostalgia. I offer it as a shorthand to describe the de-contouring of the future through a corrosive fixation on a flatten rendering of the preceding times. It is, in part, a certain type of lazy cultural scripting where tropes of the past are presented in the absolute, as empty pictorials; photocopies without any original from which to draw actual meaning, or useful detail.

Acid Nostalgia describes an increasingly common political projection of nostalgia that exists without any subjective connection to the memory surrounding and contained within it. Like acid poured onto a surface, this use of nostalgia seeks to erodes and smooth out the complexity and texture of lived connection and longing, which has until recently guided contemplations of nostalgia. Acid Nostalgia instead erases the texture of histories and de-contours the past, and in doing so dematerialises the horizon of possibility, which by its very nature marks the beginning point for any (and all) imaginable futures. Acid Nostalgia is a dreamless screen, where uncertainty, restlessness and aspiration are subjected to corrosion, breaking down and neutralising the wellspring of futures which are birthed from within the ambiguously charged, complex and at times chaotic atmospheres of the present.

The Rest Is My Ghost is not however some universal reading of these things and happenings. Rather it draws its breath from a very personal pathway carved through my own fraught experiences of nostalgia and framed through a disparate collage of chance encounters, situations, places and provocations. It takes oblique notes from civic and architectural references such as Japan’s Metabolist movement, Hong Kong’s ‘one line sky’ and Los Angeles’s vanished Sodium Vapour lights. It interpolates texts – factual and fictional – by authors such as Franco Berardi, Kate Crawford, JG Ballard, Katsuhiro Otomo, Mark Fisher and Alexei Yurchak who have each so wonderfully sought to rupture the familiarity of now, and push us towards other ways of imaging ourselves, our surroundings and our very ways of being in this world.

I also owe a debt of thanks to Adam Curtis in helping launch what has become this edition. It was his provocation, in a conversation we shared about an overwhelming and profound sense of uncertainty around being able to predict the immediate future and how to respond to that, which sparked the earliest inklings of this edition.

The Rest Is My Ghost is ultimately a record about the promise of constructions and connections to come, material, social and political. It's a record that accepts the fragility of failure as a source of ultimate potential, and a position from which the deepest freedom of imagination might be sought and summoned forth to conjure even the most unimaginable, (but) possible futures.

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

Dawuna’s latest mixtape is a muted hypnagogic R&B tour de force, pieced together while recovering from a traumatic head injury.

For »African Family Laptop Musick«, I was healing from a traumatic head injury that gave me a later amnesia diagnosis, so I don’t remember more than a couple small flashes of memory from the recording/construction of this project. I know I wanted to make a low-fidelity concept piece about my family life at the time, compositionally simple, but necessarily abstracted. This is the last lil offering from a very personal side of myself before I give y’all something big. Enjoy. – Dawuna

Tape

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy" Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

Noch bevor Brian Eno dies tat, schuf Mort Garson zurückhaltende Musik. Garson, der an der Juilliard School ausgebildet wurde und in der Nachkriegszeit als Session-Musiker tätig war, komponierte Lounge-Hits, schrieb die Musik zur Mondlandung von 1969 und schuf opulente Arrangements für Doris Day sowie die sehnsuchtsvollen ,Countrypolitan"-Streicherbegleitungen für Glen Campbells ,By the Time I Get to Phoenix". Mitte der 1970er Jahre fegte eine Naturgewalt über die kontinentalen Vereinigten Staaten hinweg, die alle Schichten unabhängig von Rasse und Klasse durchdrang und sich in unseren Köpfen, unseren Häusern und unserer Kultur festsetzte. Es war weder ,Der Exorzist", noch ,Goodbye Yellow Brick Road" oder gar Schlaghosen, sondern ein Buch mit dem Titel ,Das geheime Leben der Pflanzen". Das Werk des Okkultisten/ ehemaligen OSS-Agenten Peter Tompkins und des ehemaligen CIA-Agenten und begeisterten Wünschelrutengängers Christopher Bird schoss an die Spitze der Bestsellerlisten und breitete sich wie Kudzu über das Land aus, bis es zu einem Phänomen wurde. Scheinbar über Nacht blühte das Geschäft mit Zimmerpflanzen in voller Pracht auf, und photosynthetische Eukaryoten aller Gattungen hingen an den Wänden, thronten über Bücherregalen und sonnten sich auf sonnigen Fensterbänken. Die wissenschaftlichen Ansätze hinter ,Secret Life" waren fadenscheinig: Pflanzen können unsere Gebete hören, sie sind Lügendetektoren, sie sind telepathisch, in der Lage, Naturkatastrophen vorherzusagen und Signale aus entfernten Galaxien zu empfangen. Doch das hielt Millionen Menschen nicht davon ab, ihre neuen Pflanzen zu kaufen und zu pflegen. Die vielleicht verrückteste Behauptung des Buches war, dass Pflanzen auch Musik mögen. Und ganz gleich, ob Sie eine Schlangenpflanze, einen Spargelfarn, eine Friedenslilie oder was auch immer bei ,Mother Earth" auf der Melrose Avenue in Los Angeles erwarben (oder eine Simmons- Matratze bei Sears kauften) - Sie nahmen auch ,Plantasia" mit nach Hause, ein Album, das speziell für sie aufgenommen wurde. Mit dem Untertitel ,Warm Earth Music für Pflanzen _ und die Menschen , die sie lieben" war es voller idyllischer, charmanter, kiff-freundlicher und entschieden unwissenschaftlicher Melodien, die auf einem neumodischen Gerät namens Moog eingespielt wurden. Das Album erlangte Jahrzehnte nach seiner Veröffentlichung eine enorme Kult-Anhängerschaft. Die Neuauflage von Sacred Bones aus dem Jahr 2019 trug dazu bei, ,Plantasia" einem breiteren weltweiten Publikum bekannt zu machen, und bescherte Garsons ungewöhnlichem Meisterwerk ein bemerkenswertes zweites Leben. Was einst ein seltsames Relikt der Pflanzenbegeisterung der 1970er Jahre war, ist zu einem geliebten Evergreen geworden, der von einer neuen Generation von Hörern wiederentdeckt und neu geschätzt wird und weit über seinen ursprünglichen Moment hinaus gedeiht, wobei er sich von einer obskuren Kuriosität zu einem geliebten Kultklassiker und einem Meilenstein des Streaming-Zeitalters entwickelt hat. Nun, 50 Jahre nach seiner ursprünglichen Veröffentlichung, markiert ,Plantasia" von Mother Earth einen bedeutenden Jubiläumszeitpunkt. Ein halbes Jahrhundert später hallt es weiterhin nach - eine bleibende Erinnerung an Mort Garsons Fähigkeit, das Synthetische seltsam lebendig und das Skurrile auf merkwürdige Weise tiefgründig wirken zu lassen.

To celebrate the launch of the 4th and last DLC of Atomic Heart, Kid Katana Records teamed up with Mundfish to bring you this high quality album for the first time on an exclusive double vinyl.

With over 10 million players since its release, and a nomination at the 14th Hollywood Music in Media Awards, Atomic Heart has kept on bringing new content in the game, enriching the players’ experience with new Stories, Threats and Music to pursue the fight for freedom and progress.

The physical edition is a premium 2LP designed in close relationship with the game's creative team: Track selection handpicked by Atomic Heart team, including tracks from Mick Gordon, GeoffPlaysGuitar and Boogrov, and 1 new track (DLC #4 trailer exclusive) 2-colored vinyls with unique red and black “corona” effect: handmade vinyl effect melting red and black colors to shape a unique vinyl color on each product, mirroring the cover art.

Exclusive cover art with mat finishing and glossy effect on the Twin and motorcycle

Amelie Lens' debut album 'AURA' is the first full-length studio album to come from the Belgian artist despite being one of the most respected and sought-after acts in electronic music today.

Of the album, Amelie says:

"'AURA' is my story. Aura is about the connection between the crowd and me. Music has always been my escape, my way of turning my emotions and energy into something new. When I was younger, I would disappear into nightclubs and create myown world in my head. Being in the nightclubs gave me this feeling of belonging somewhere, I felt connection and freedom I had never experienced before. That feeling changed my life completely. So this album really reflects that whole journey. From playing tiny local clubs and driving myself through the night for gigs, to standing on huge festival stages, becoming a mother, building EXHALE and learning how to balance it all in life.

I wanted 'AURA' to feel emotional but still powerful, uplifting but raw. From big festival tracks to the trippy tracks I'd play at 4am at RSO. Although making this album is one of the biggest things I have ever done in my life, I wanted to keep it light and somehow playful. Because that is also how I am as a person. This is the most honest version of myself I've ever shared. I hope it brings some light, happiness and connection to others as it does to me. Because Aura is and always will be about my connection to you."

The album will consist of 11 brand new tracks, all produced by Lens - with one stellar collab, who will be announced in due course.

Joaquin ‘Joe’ Claussell returns to the Spring Revisited project, and he delivers another jazz-infused house mix of a classic funk track by the iconic Fatback Band. Spring Revisited is collaborative project between Ace Records and Acid Jazz, inviting influential house music producers to reinterpret classic tracks from seminal New York label Spring Records, a pioneer in funk, soul and disco. After a series of sell-out and chart-topping 12” and 7” releases, as well as a 2LP compilation, the project continues with these two new mixes of the Fatback Band’s ‘(Do The) Spanish Hustle)’. Claussell combines the original classic funk elements with Latino percussion and samba-styled trumpets.

First up is his 'Sacred Rhythm Version’, which lifts the tempo and loops a section of the original's percussion. Keeping the trumpets, and soulful vocal phrases, he adds a DJ-friendly kick drum and shows off his improvisation skills with a vibrant synth line. On the flip, he strips back some of the drums and horns and focuses on the bassline with the 'Spanish Harlem Dub,' which is a moody rework utilising some funk-infused organ chords. On the original track Joe says: "I can vividly recall the very first time I heard Spanish Hustle blasting through my brother Jackie’s stereo system. Not long afterward, I experienced its energy again on the dance floor at a discotheque known as The Inferno, where it was masterfully delivered by the legendary René Hewitt. The record left an imprint on my spirit that never faded.’ A spectacular continuation of the series, presented in the nowsignature Spring Revisited housebag, resembling an original worn-in promotional 12”, pressed in a strictly limited run!

2026 Repress

Multi-faceted artist Calibre today shares his sixteenth studio album "Feeling Normal". The album is out now to pre-order on Vinyl, CD and on digital platforms via his own independent imprint Signature Recordings.

The record is his first bonafide 140bpm record and a staggering body of work that shows the genius levels of one of electronic music's most respected auteurs. Across the 13 tracks, he transcends through space and time, creating music that will take the listener on a weighty sonic journey. The album announcement is accompanied by two dub versions "Bad" and "Badder" deconstructed from the track "Badman" with DRS from Mark Ernestus available via his Hardwax store January 29th and Bandcamp February 12th. "Getting to work with Mark Ernestus is a real honour, I collected Basic Channel, Rhythm & Sound and his other work for many years and still do. It's hard to avoid the influence of this guy in electronic music across genres and so it is a real pleasure to have him do his thing with the Badman tune which I think sounds closely related."

All of the tracks on the record have been road-tested in Calibre's DJ sets over the last 2/3 years with many of them being sought-out by his hardcore fans. It was only a matter of time then that he put them out for all to consume. With a nod to the dancefloor, the clear idea for the album came about following the release of his most personal album to date "Planet Hearth". "It still works in the headspace but ultimately it's been written for the sweaty club experience we miss now, also after an album like Planet Hearth it felt very liberating to do," he remarks. When writing albums, he often just puts it down to the general chaos of life, not citing any one influence but generally just waits to see what comes. With one of the tracks on the album written 7 years ago on the island of Valentia, It became a project that he spent the intervening years collecting tracks for, not really knowing when he was going to put it together as an album. "The whole album is special to me, everything on there has import and meaning beyond for me, I have spent much time on all these and hope they are special for other people too."

Belfast-born, Berlin-based Calibre - AKA Dominick Martin - shows no sign of slowing down. As a producer, DJ, songwriter, multi-instrumentalist and painter, he is one of the most unique and inspiring living artists. With a career spanning two decades, his ability to remain underground whilst being one of the most-respected is testament to who this enigmatic artist is. To this day, he has never been remixed and has a seriously impressive amount of unreleased music under wraps. With everything on hold and gigs on the backburner, this record is exactly what the world needs right now.

BUCHLA MEETS ORCHESTRA IN QUADRAPHONIC SPACE ON CIANI/ORKEST

Suzanne Ciani, Metropole Orkest and Simon Dobson release historic immersive performance in multiple immersive formats including quad vinyl.

Silverlake, CA \\ June 4, 2026 – Electronic music pioneer and five-time Grammy nominee Suzanne Ciani joins the internationally acclaimed Metropole Orkest, conducted by Simon Dobson, for the release of CIANI/ORKEST, a landmark live album composed entirely of new work, created specifically for this unprecedented collaboration.

Recorded at Amsterdam Dance Event (ADE) before a rapt audience, CIANI/ORKEST is not a retrospective. It is a bold, immersive meeting of the Buchla electronic instrument and 50-piece orchestral sound. The result is a sweeping sonic landscape, at once intimate and monumental.

Under the direction of the Metropole Orkest, renowned for its genre-defying collaborations with artists from jazz to contemporary classical - strings shimmer, brass swells and woodwinds echo the organic, fluid qualities that have always defined Ciani’s sound. “This project feels like a homecoming,” says Ciani. “The Buchla was always orchestral to me, an instrument capable of infinite color. Hearing those colors unfold through the Metropole Orkest has been profoundly moving.”

At the heart of CIANI/ORKEST lies Ciani’s lifelong commitment to quadraphonic sound. From her early Buchla performances in the late 1960s to her 2018 release LIVE Quadraphonic, Ciani has treated space as a primary compositional parameter. Working alongside immersive producer KamranV, Ciani continues to explore immersive sound as both artistic and human gesture. Kamran’s decades of work in spatial formats, converge here in service of a singular goal: to let sound behave as it does in the physical world. “For both of us, quad is musical,” Kamran notes. “The way Suzanne works, quadraphonic is nested in — not the technology per se — but the intent you bring to the work.”

The recording stands as a meditation on legacy, evolution, and the enduring dialogue between technology and human expression. The live album captures the electricity of performance, the immediacy of touch plates under Ciani’s hands, the collective of musicians responding in real time, and the audience’s shared immersion in quadraphonic-inspired space.

CIANI/ORKEST is released by Atmospheric/AKP Recordings/CyKiK in multiple double-disc quadraphonic 12” Record packages designed by grammy-nominated designer Rebeka Arce. Each pressing is made regionally to minimize carbon emissions and also contributes to nature via Brian Eno's EarthPercent, the music industry's climate and nature foundation.

The release is encoded using the dublab Quadraphonic Universally Accessible Resource Kit (QUARK). QUARK enables binaural listening via standard 2-channel playback or 4-speaker playback via Involve Audio hardware decoders, vintage Regular Matrix quadraphonic receivers, Dolby Pro-Logic II/Dolby Surround Upmixer (DSU) receivers, or any multi-channel audio interface equipped computer. This album is immersive via all formats: digital download, streaming (Qobuz, Spotify, SoundCloud, Bandcamp), radio broadcast, vinyl and high-resolution Dolby Atmos (Apple Music, Tidal, Amazon HD, IIA), Sony 360RA (Nugs, Amazon HD) and Eclipsa Audio (YouTube).

About Suzanne Ciani
Suzanne Ciani is a composer, pianist, sound designer, and electronic music pioneer whose work spans experimental, new age, classical, and cinematic sound. A five-time Grammy nominee and recipient of the Moog Innovation Award, she continues to perform internationally, captivating audiences with immersive modular synthesis performances.

About Metropole Orkest
Based in the Netherlands, the Metropole Orkest is one of the world’s leading genre-crossing orchestras, known for collaborations with artists including Brian Eno, Herbie Hancock, Snarky Puppy, Jacob Collier, and within contemporary classical and electronic spheres.

A Chicago soul legend meets the West Coast's most reliable modern funk architects on this red-hot 7". Doug Shorts' story stretches back to 1971 and his band Master Plan Inc., and his career has earned him releases on Daptone, Cherries and Jazzman as well as a reputation for songwriting and vocals that go straight to the heart. Here he joins Cosmic Slide for something that bridges generations like a boss. Both cuts are modern funk grooves laid down with craft, rooted in soul but with a new school swag. Shorts' deep, restrained voice remains as expressive and lived-in as ever over the duo's tight, ass-wiggling production. Pure vibes.

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Dark Entries helps Suzanne Ciani come out of the closet as Steve! Legendary composer, sound designer, and Buchla maestra Suzanne Ciani has a staggering list of accolades and accomplishments, from scoring Hollywood films to releasing influential new age records to literally designing the Coca-Cola bottle-opening sound. In the late 70s/early 80s, Ciani, while living in New York, acquired an Eventide H 949 harmonizer, which offered high fidelity pitch-shifting. In her words, “When I adjusted the pitch of my voice to 0.80, my natural voice became re-invented as what was clearly a gay man, who I called Steve. I became Steve; and Steve expressed himself as only he could.” Ciani adopted the male persona and collaborated with Peter Baumann of Tangerine Dream on “Steve Goes to a Party.” The track features Ciani-as-Steve adlibbing in decadent and delirious fashion alongside Baumann’s robotically funky beats. Steve would emerge again a few years later at George Louvis’s Stardust Studios in New Jersey, to create “Steve Saves the World,” an absurdist and ecstatic proto-house groover complete with a gospel-esque chorus from the Stardust All-Stars. This EP is rounded out by a birthday wish to Ciani’s then-boyfriend Alfred on “Steve Happy Birthday Wishes” featuring Suzanne. Steve’s Out of the Closet perfectly captures the delirious techno-poptimism of the 1980s downtown avant-garde, with parallels in Robert Ashley’s Perfect Lives or Lynn Goldsmith’s project Will Powers, responsible for the track “Adventures in Success.” The Steve sleeve was designed by Eloise Shir-Juen Leigh, and the record also includes a birthday card with liner notes from Ciani.

Your favourite edits (probably) crew, Local Sugar Diggers, aka the trio of sonic sculptors that are Scruscru, Tony Lavrutz and Los Protos all come together here on a new 7" offshoot label from the Soul Service. The a-side cut 'Rave w Polsce' is a full-fat funker with deep cut grooves that roll on rubbery bass and soar with rasping wind leads. Plenty is going on wherever you listen and it all serves to get you moving. 'Otra Ritmo' is an immediate portal to a communal get down somewhere sun-baked and lush with green in South America. The horns, the freewheeling percussion and the loosely assembled rhythm are all irresistible invitations to cut loose.

In the early ‘10’s the WPH Summer Special was a yearly tradition: a stamped vinyl only releases featuring lost tracks, one-off collabs, dreaded digital only gems, etc. Some summer specials were so hot we released them in the winter to battle the cold…

Guess what? It’s back! Four killer tracks on one slice of vinyl. Satoshi Fumi remixing Ian O’Donovan to devastating Detroit-styled effect, Red D taking things deep with some dreamy deep house magic, Fabrice Lig going from ‘Border 2 Border’ on vinyl with Red D & Lady Linn and then Uit De Hoogte teaming up with Lefto for an oldskool house jam that will only be available on this release.

If this doesn’t get your heat up…

Ame: Thanks for ‘Border 2 Border’

Frankey & Sandrino: Great music in here, thanks!

Ben Sims: Ian O’Donovan one…asap!

Axel Boman: The dancefloor is open indeed.

Terre Theamlitz: Thank you for ‘Sweet Synthie Pauline’.

Simon Caldwell: Lovely E.P. of reminiscence!

Satoshi Fumi: Cool pack J

Red Rack’em: Love the Satoshi Fumi remix.

Severino Panzetta: Grooovy!

Jimpster: I can imagine the Ian O’Donovan working nicely. Classy stuff!

Harri Subclub: Play and support from me.

Massimiliano Pagliara: Great tunes!