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Lower the drawbridge, raise the gates. Texas-based composer Graham Reynolds (A Scanner Darkly, Before Midnight, Hit Man) returns to the world of The Portcullis with a brand-new LP of music. This deluxe edition brings together the original album and The Portcullis Expansion Pack across two LPs, housed in a die-cut slipcase.


Following the original album’s release in May 2026, the Expansion Pack ventures deeper into a medieval world of knights and merchants, almoners and thieves. Percussive medieval textures, fretted guitars, brass fanfares, atmospheric strings and piano reshape dungeon synth into something vividly Reynolds’ own: an imagined soundtrack steeped in folklore, fantasy and adventure.


What began as an investigation into Reynolds’ family lineage, tracing his name back to Launceston Castle, has grown into a world extending beyond the record.



Released via Fire Records as part of the Weird Walk Record Cult, the deluxe edition arrives alongside an expanded dice game and a special Portcullis porter created with Skipton Brewing Company.


“One of the most unique and addictive albums of 2026 so far” - Loud and Quiet


“Of all the RPG-infused dungeon synth, medieval ambient records released this year, Graham Reynolds’ will be the finest.” - Loud And Quiet


“Ominous, stark environment that rumbles with sounds evocative of the natural world, in both its beauty and despair” - The New York Times


“A work of great scope, subtlety, and powerful suggestion. (…) Prepare yourself for an immersive experience, full of color and personality.” - Time Out


“Quite extraordinary” - ---- Uncut

In alten Zeiten, wenn sich Nebel um ein Schiff legte, war der einzige Weg nach vorne, langsamer zu werden und zuzuhören. Vögel, brechende Wellen, Schiffsklokken, Gongs und Hörner wurden zur neuen Sprache der Navigation, neben Tiefensondierungen, die den Meeresboden mit einer Bleileine abtasteten und seine verborgenen Formen enthüllten. Die Technik hat diese Methoden zwar weitgehend überflüssig gemacht, aber es hat immer noch etwas Faszinierendes, wenn man das Sehen gegen Hören und Fühlen eintauscht. Dieser Wandel steht im Mittelpunkt von AEAEA dem neuen Duo aus Patrick Higgins & Nicolas Jaar und ihrem Debütalbum Mist", einem Album, das fragt: Wie findest du dich zurecht, wenn die Welt um dich herum verschwimmt? Die Anfänge des Duos reichen zurück bis zum Le Guess Who?-Festival 2019, bei dem Higgins als Künstlerkurator fungierte. Benannt nach dem nebligen, mythischen Land der Eichen- und Buchenwälder, wurden die Insel und die sie umgebenden Geschichten zu einer Inspirationsquelle für beide Musiker, die schon lange eine Mischung aus altertümlicher Harmonie und elektronischem Experimentieren bevorzugen. Das Album entsteht aus der Erforschung einer neuen gemeinsamen Sprache durch das Duo, bei der Higgins' Gitarre und Percussion live durch Jaars Echtzeit- Effektketten geleitet werden, wodurch Sampling, Dubbing und Verarbeitung zu eigenständigen Musikinstrumenten werden. Aufgenommen über drei Jahre hinweg in Berlin und in Higgins' Studio im Bundesstaat New York, verwebt Mist" die neblige, intuitive Logik von Bearbeitungsketten und Improvisation in den Kern der Komposition. Die Platte entwickelt eine Reihe melodischer Themen, die aus Higgins' Gitarre hervorgehen und sich in ein Meer aus Elektronik, Percussion und schließlich einem volleren Ensemble aus Keyboards, Orgeln, Schlagzeug und den Cello-Improvisationen der Komponistin Judith Hamann brechen. Die Klanglandschaften von Mist" sind traurig und langsam, mit Tönen, die oft von einem blaugrauen Dunst umhüllt sind. Manchmal nehmen wir Strahlen fernen Lichts wahr, die die Unschärfe durchdringen, doch meist hören wir Echos ferner Ufer, deren Rhythmen es uns vielleicht endlich ermöglichen, ohne zu sehen zu sehen.

Alek Lee and vocalist Margeeah come together for a boutique 7″ pressing limited to 200 copies, featuring two tracks blending soul, reggae, disco and dub. Lee, whose catalogue includes releases on Antinote and Isle of Jura, brings his background in slower, dub oriented productions to a collaboration built around Margeeah’s vocals and live instrumentation. The sound sits somewhere between Massive Attack’s Blue Lines and Grace Jones.

Margeeah comes from the Israelite community, whose musical history includes The Soul Messengers. Her debut album, Looking for Love, was recorded in 1983 with Kingdom Sounds, originally issued as a private press LP and reissued by Frederiksberg Records in 2025. Its musicians included Abshalom Ben Shlomo, associated with Sun Ra. Her vocal style spans soul, jazz, funk and reggae, with reference points including Roberta Flack and Doug & Jean Carn.

For this release, Lee records his own live drums and percussion for the first time, alongside his signature smoky melodica lines. The production develops the reggae elements of Margeeah’s singing, combining bass driven arrangements with live rhythms, spacious guitar lines and dubby approach.

On the A side, “The Music Inside”, Margeeah effortlessly projects Lee’s lyrics about optimism and the desire for inner and outer freedom. Built around a recurring vocal refrain, the track places her voice over a rooted reggae arrangement.

The B side, “Can You Feel It?”, moves seductively towards a slower disc-dub sound. Bass and drums provide the foundation, with the percussion developing from a restrained groove into a fuller live kit arrangement. Melodica and guitar weave around Margeeah’s lead vocal and the hypnotizing title phrase.

Initially recorded in 1996 and officially released February 1997, 2nd Family's Killaz from the Blackside tape is one of the most distinctive examples of unpolished, stripped-back & paranoid mid-90s Memphis rap. Recorded by King JC together with 2nd Family MCs Pistol Grip & Killa Chrome in a home-studio set up at the group's base in Southern Hills Apartments in Whitehaven, South Memphis (known locally as Blackhaven or the Blackside, a short trip from Graceland) the sparse, brooding and somewhat introspective production sets the record apart from the more raucous, overdriven precedent of the period. Pressed on vinyl for the first time via Death Is Not The End in an edition of 300 copies.

With “Rides Again Again And Again” US born and London resident singer, songwriter, producer, arranger und multi-instrumentalist extraordinaire Shawn Lee releases the third part in a series of very personal albums.

“Returning to my ‘Rides Again’ project feels like a home coming of sorts-familiar yet completely different from how I remembered it,” Shawn Lee says. “This time out it felt really fresh and freewheeling. Discovering things which were already there but somehow had remained hidden just out of sight. The genius of JJ Cale provided a lot of inspiration for this album. I had to pay tribute with the song ‘JJ’ in his honour. I also wrote a song for my dad called ‘Helluva Way’ who sadly passed while I was finishing the album. Multiple US tours last year with Young Gun Silver Fox informed lyrics on several tunes particularly ‘Hot Food’ and ‘Plastic Forks and Paper Plates’. The latter features a motley cast of characters on the ‘hell yeahs and the outro sing -a-long. My wife Kiren, Andy ‘Young Gun’ Platts, his wife Jodie and daughter Frankie plus all the live members of YGSF band, Ederlezi, as well as Smith & Liddle and our tour manager Claire Darling all contributed to the cause on ‘Plastic Forks’. Songs about Evel Knievel, my dog Carla, Tacos and Abilene Kansas round out the album as-well as a few instrumentals to boot. Three albums into the ‘Rides Again’ trilogy and I feel like I’m just getting started. So saddle up partners and join me on this musical ride!”

When Swingrowers released their debut in Sept 2012, electro swing was a bubbling cultural zeitgeist. This Italian band were among the earliest pioneers who helped shape the sound of the vintage-influenced genre. Their debut 12 track collection paved the way for the brilliant albums that followed and indeed for the ongoing popularity of the genre. A little rougher around the edges but with all the early promise on show, this album completes a 4 piece set for fans and collectors.

Swingrowers went on to release a further 3 studio albums, toured internationally, playing major festivals includingMontreux Jazz Festival, Glastonbury, Boomtown and Tokyo’s Blue Note Festival. Their music has to date amassedmore than 100 million streams worldwide on Spotify alonewith videos clocking up many millions more.

Pronounceditself is a revelation. It stood the test of time as one of the earliest complete and fully-realised Electro Swing albums that seamlessly blend 20’s and 30’s influences - violin, gypsy jazz guitar, saxophones and swing music - with polished contemporary production. Here, superb musicianship meets great songwriting meets a unique modern sound from Swing Hop to Drum n Bass with jazz-inflected vocals in English and Italian.

As we approach the 15 year anniversary, Pronounced is being released on wax for the first time.

This releasecompletes Swingrowers’ entire album discography on vinyl, joining existing editions of Remote, Outsidein and Hybrid.

For long-time fans, collectors and anyone who discovered electro swing through artists such as Caravan Palace and Parov Stelar, Pronounced is a chance to finally own the sound of a young band (and indeed an up-start young genre) at the very start of their career.

Mike Ladd. Diejenigen, die ihn kennen, sprechen diesen Namen mit einer gewissen Ehrfurcht aus. Wenn du mir eine unvollkommene Analogie gestattest: Ladd ist der Terrence Malick des Underground-Hip-Hop - ein kompromissloser Autor, dessen frühe Werke sowohl unkonventionell als auch von der Kritik gefeiert waren, bevor er sich abrupt aus der Szene zurückzog, die er mit aufgebaut hatte, und nach Paris abhob, um nie wieder von sich hören zu lassen. Natürlich ist die Realität komplexer als die Legende. Mike Ladd hat nie aufgehört, Musik zu machen; im Laufe der Jahre ist er bei allerlei unerwarteten Kollaborationen aufgetaucht - wer könnte seinen mitreißenden Auftritt auf billy woods' ,Aethiopes" vergessen -, hat den Soundtrack zu einer Netflix-Serie beigesteuert und mit bildenden Künstlern an Orten wie dem Pantheon in Paris zusammengearbeitet. Dabei sind all die Bühnen, auf denen er als Teil verschiedener Tournee-Bands und Live-Acts für Furore sorgte, noch gar nicht mitgezählt. Dennoch liegt Ladds letztes Soloalbum mehr als zehn Jahre zurück, und sein Meisterwerk ,Welcome to the Afterfuture" erschien Anfang 2000. Wenn wir der Analogie folgen wollen, ist ,Nonechosen" Mike Ladds ,The Thin Red Line. Ein unerschütterlicher Beweis dafür, dass sich der Künstler weiterentwickelt und gewachsen ist, dabei aber dieselbe Gravitas bewahrt hat, die seinen Namen zu dem gemacht hat, was er ist. Hier sind wir nun, tief in der ,Afterfuture", und es ist, als hätte Ladd schon immer auf diese Zeit gewartet und auf diesen Moment hingearbeitet. ,Jetzt weißt du, warum ich auf meinem Posten geblieben bin", rappt er auf ,Nonechosen", überzeugt davon, dass sich seine Geduld ausgezahlt hat. ,Nonechosen" ist ein Soloalbum, aber Ladd wird dir als Erster sagen, dass er es nicht allein geschafft hat; er hat schon immer mit alten Freunden zusammengearbeitet. No Surrender und Tom Degeeter haben an jeweiligen Tracks mitgewirkt. Sobald Mike das Album mit seiner eigenen Produktion zu 95 % fertiggestellt hatte, gab er es an Preservation weiter, der das Projekt mit ein paar gut platzierten Feinschliff-Maßnahmen auf ein neues Niveau hob. Backwoodz Studioz fühlt sich geehrt, Teil von Ladds kometenhaftem Comeback zu sein, und freut sich darauf, diesen wegweisenden Künstler einer neuen Generation von Hip-Hop-Fans gebührend vorzustellen, wenn wir schon dabei sind.

Mike Ladd. Diejenigen, die ihn kennen, sprechen diesen Namen mit einer gewissen Ehrfurcht aus. Wenn du mir eine unvollkommene Analogie gestattest: Ladd ist der Terrence Malick des Underground-Hip-Hop - ein kompromissloser Autor, dessen frühe Werke sowohl unkonventionell als auch von der Kritik gefeiert waren, bevor er sich abrupt aus der Szene zurückzog, die er mit aufgebaut hatte, und nach Paris abhob, um nie wieder von sich hören zu lassen. Natürlich ist die Realität komplexer als die Legende. Mike Ladd hat nie aufgehört, Musik zu machen; im Laufe der Jahre ist er bei allerlei unerwarteten Kollaborationen aufgetaucht - wer könnte seinen mitreißenden Auftritt auf billy woods' ,Aethiopes" vergessen -, hat den Soundtrack zu einer Netflix-Serie beigesteuert und mit bildenden Künstlern an Orten wie dem Pantheon in Paris zusammengearbeitet. Dabei sind all die Bühnen, auf denen er als Teil verschiedener Tournee-Bands und Live-Acts für Furore sorgte, noch gar nicht mitgezählt. Dennoch liegt Ladds letztes Soloalbum mehr als zehn Jahre zurück, und sein Meisterwerk ,Welcome to the Afterfuture" erschien Anfang 2000. Wenn wir der Analogie folgen wollen, ist ,Nonechosen" Mike Ladds ,The Thin Red Line. Ein unerschütterlicher Beweis dafür, dass sich der Künstler weiterentwickelt und gewachsen ist, dabei aber dieselbe Gravitas bewahrt hat, die seinen Namen zu dem gemacht hat, was er ist. Hier sind wir nun, tief in der ,Afterfuture", und es ist, als hätte Ladd schon immer auf diese Zeit gewartet und auf diesen Moment hingearbeitet. ,Jetzt weißt du, warum ich auf meinem Posten geblieben bin", rappt er auf ,Nonechosen", überzeugt davon, dass sich seine Geduld ausgezahlt hat. ,Nonechosen" ist ein Soloalbum, aber Ladd wird dir als Erster sagen, dass er es nicht allein geschafft hat; er hat schon immer mit alten Freunden zusammengearbeitet. No Surrender und Tom Degeeter haben an jeweiligen Tracks mitgewirkt. Sobald Mike das Album mit seiner eigenen Produktion zu 95 % fertiggestellt hatte, gab er es an Preservation weiter, der das Projekt mit ein paar gut platzierten Feinschliff-Maßnahmen auf ein neues Niveau hob. Backwoodz Studioz fühlt sich geehrt, Teil von Ladds kometenhaftem Comeback zu sein, und freut sich darauf, diesen wegweisenden Künstler einer neuen Generation von Hip-Hop-Fans gebührend vorzustellen, wenn wir schon dabei sind.

Following their self-proclaimed LP trilogy (2020-2024), Straw Man Army returns with a new songwriting experiment in the form of True North; a collection of 11 songs written for acoustic instruments over three 72 hour sessions at a cabin, isolated in the woods north of NYC. The result is a concept album in practice as opposed to subject alone. Attuned to both the spiritual and political dimensions of seeking refuge in our times, it asks what exactly we mean by “peace” in this era of increasing violence, incarceration, and skepticism towards a future worth living. Does it feel like relaxation, does it tend towards silence? Is it the cooling of our collective rage? Not here. On True North, peace is a spiritual contradiction; a chimera incorporating our innermost desires and the brutality of the world that surrounds us. The album’s central character is a “sleepwalker” trudging through the waking nightmares that have defined daily life since the release of 2024’s Earthworks. Because True North is music that dreams. Sonically, the band toys with the aesthetics of psychedelia, folk, and kosmiche music for contrast, creating a still pool into which their deepest anxieties ripple and flow and flower into ever darker shapes. And while the musical palette plays on tropes of peace—lush piano instrumentals, fingerpicking guitars, gong, vocal harmony—the subject remains steeped in environmental collapse, death, mental breakdown, and the rejection of our most closely held myths. The clash of these forces is the engine that turns the musical wheel. True North is the sound of music mourning a future that never took place and a bout of anticipatory grief for something that’s only just begun…

Jozef Van Wissem and Jim Jarmusch’s Bocca di Lupo and Mouth of the Wolf were recorded in July 2025 in Bologna, Italy. The recording sessions took place just after several live dates in New York and Chicago, and a week before they began a short European tour which included Paris, London, Ghent, Porto, and a first date in Bologna.

Below are notes from Jozef and Jim directly.
“With thanks to Gian Luca Farinelli and Rosanna Mordini from the extraordinary Cineteca di Bologna, we were able to secure recording days in the very cool Fonoprint Studios — located on Via Bocca di Lupo in Bologna, hence the titles of these two LPs. (“In bocca al lupo” — in the mouth of the wolf — is the Italian idiom for wishing one good luck; equivalent to “break a leg” in English.)

Bocca di Lupo starts with a new version of our own “Only Lovers Left Alive,” and “Apology” is a new version of a pre-existing piece by Jozef. All other tracks are new originals. We were honored to have guest duet vocals from the iconic Courtney Barnett on “Never Like You Said.” The lyrics of the song arrived spontaneously in a single take in the studio. It’s not directed at a specific person, but more an emotional response to several disingenuous, deceitful people — a closing of the door on their toxic behavior. And a casually recorded conversation (concerning the haunted auras of particular pieces of vintage women’s clothing) between Adriana Coppi and Veronica Mayrr (from Deux Femmes) is woven as a background into the track titled “Pour Deux Femmes.” “Black Roses” is an original poem written in Bologna, and recited from within its own musical setting. All other tracks are instrumentals.

Mouth of the Wolf, the second LP, consists of two longer, darkly ecstatic instrumental studio tracks — “In A” and “Massa Damnata.” Both were created with two electric guitars, and derived from our live performances. We consider it to be a musically separate album, and is therefore presented in its own sleeve and with its own artwork.

Our music has many inspirations — everything from our friends in Sunn O))) and Swans to Terry Riley and Morton Feldman; from Hildegard Von Bingen and WIlliam Lawes to Psychic Ills and Spacemen 3; from Les Rallizes Dénudés and NEU! to Nadja and Glenn Branca; from Ian Svenonius and Dead Skeletons to Son House and Gwenifer Raymond…from sunset to sunrise…full moon to new moon…”

a 01. Only Lovers Left Alive 4:36
b 02. Never Like You Said 5:23
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

DJ HS presents "Booty Shake EP" on Ghoststyle

A legendary figure of the Belgian electronic scene and one of the iconic DJs of the famous Lagoa, DJ HS returns to Ghoststyle with Booty Shake EP, a four-track release showcasing the sound that has made him a favourite among clubbers for decades.

Featuring Booty Shake, Spectrum, Shut Up and Acid Twist, the EP delivers four driving cuts packed with infectious grooves, pounding rhythms and unmistakable acid flavours. Staying true to DJ HS's signature style, each track is built for maximum dancefloor impact while preserving the raw spirit of authentic underground electronic music.

Whether you're looking for energetic peak-time weapons or timeless club grooves, Booty Shake EP is a solid addition to any DJ bag and vinyl collection.

Français

DJ HS présente "Booty Shake EP" sur Ghoststyle

Figure emblématique de la scène électronique belge et DJ incontournable du mythique Lagoa, DJ HS signe son retour sur Ghoststyle avec Booty Shake EP, un EP de quatre titres qui reflète parfaitement le son qui fait vibrer les clubs depuis des décennies.

Composé de Booty Shake, Spectrum, Shut Up et Acid Twist, cet EP rassemble quatre productions percutantes mêlant grooves entraînants, rythmiques puissantes et touches acid irrésistibles. Fidèle à l'univers musical de DJ HS, chaque morceau est pensé pour offrir un impact maximal sur le dancefloor tout en conservant l'esprit brut de la musique électronique underground.

Que ce soit pour les DJs à la recherche d'armes redoutables pour le peak time ou les amateurs de vinyles électroniques authentiques, Booty Shake EP trouvera naturellement sa place dans toute collection.

Remix by Shubostar, artwork by Neasden Control Centre

We're thrilled to welcome Lauer to XXX the label with XXX018.

Delivering his unmistakable blend of driving rhythms, uplifting melodies and club energy, Lauer presents three originals that capture his signature sound: fast-paced, euphoric and built for the dancefloor.

On remix duties, Shubostar takes things into deeper territory with a slower, hypnotic interpretation, stretching the originals into a cosmic journey while preserving their infectious groove.

A meeting of two distinct yet complementary visions, this is XXX018. Wrapped in an original artwork by Neasden Control Centre, the release finds its visual counterpart in bold shapes, playful abstraction and a touch of surrealism.

Released in 2018 this extremely limited four track 7" EP is the only physical release by the Indonesian producer and local harsh experimental music pioneer Tembok Kamar Dinding Sekolah who unfortunately passed away only a few weeks prior to his actual vinyl debut on the underground imprint that is Flop Beat Disk.

Therefore this posthumous and highly limited to 120 copies pressing remains the only glimpse into his sonic world, seemingly formed and developed in a place rather isolated from the rest of the electronic music scene, a four track release spanning an arc from haunted Unformatted Techno to Rhythm Industrial x TechnoJazz amalgamations as well as bass heavy Broken Techno fusion and ethereal, hyperdecaying IDM x Glitch realms. This is for the most adventurous and headstrong amongst the DJs only.


Never officially distributed before this is the first time ever this unrecognized gem is available to a wider audience, albeit in highly limited quantities.

Limited pressing of 120 copies.

Rubbermaidxxx is a recent music performance project by the Irish artist Anna McCarthy, rather than simply the title of one autonomous artwork. Rubbermaidxxx is a character or unstable identity, an emancipatory underdog with a heart for daredevilry. The project sits naturally within McCarthy’s larger practice, which moves between drawing, assemblage, happenings and collective actions.

Clad in a black balaclava and fetish climbing wear, she abseils from buildings before entering the stage. For the first performance in New York City, she was invited by Kyp Malone of TV on the Radio to perform at his club Francis Kite Club in Alphabet City, NYC and since has continued to make a name for herself hanging off façades, singing, dancing and mopping the floor together with her performance collaborators Miss Philip a.k.a. Philip Errico and Michael Tapper at Pianos NYC, Kottbusser Tor and Genezarethkirche Berlin or the Villa Stuck Museum in Munich.

The album was produced in Munich and New York in 2025 in collaboration with her brother Nick McCarthy (Franz Ferdinand) and Anton Kaun (Rumpeln). What started as a quick improv turned into a high-energy 4-hour session of the siblings playing manic ball with beats, bass, guitars and vocals resulting in what laid the basis to this album. In the weeks following, Anna McCarthy, who is known for her cut-up production style, reminiscent of albums such as White Noise or Flying Lotus, continued to develop the vocals, performance and music by mixing in an amalgam of field recordings with her narrative spoken word, including sounds of protests, dollar stores or ice-cream trucks, as well as collaborating with the noise artist Rumpeln for the last two tracks of the album.

McCarthy is also known as the lyricist and singer of What Are People For? (debut 2022 on Alien Transistor) with its dystopic dance music candy-cane shows and equally humorously critical tongue-in-cheek bangers such as Bring back the Dirt, Drones or Partytime. Anna McCarthy's spoken word, social urgency and enthusiasm to experiment across mediums is comparable to other contemporaries such as Moor Mother, Miho Hatori, Gonjasufi, Tricky, or Cibo Matto.

The name itself is telling. Rubbermaidxxx evokes elasticity, artificiality, domestic labour and the commercial world of cleaning and garbage. It suggests a body capable of stretching, absorbing filth and cleaning up after society – only to revolt against the role it has been assigned.

Rubbermaidxxx is a master of deception, juggling fact and fiction as a reflection of our times – a diamond thief, a protester, or even responsible for the Louvre heist? This album invites the listener and viewer in, playfully dismantling hierarchies and power structures as she goes through a hopeful amalgam of dance, protest & love songs.

****COVER WITH AUGMENTED REALITY**** Argentinian producer Translate synthesises states of consciousness and perceptions into his semantics of sound, creating a distinct language of mental techno through hypnotic repetition, precision and deeply immersive atmospheres. His presence in this realm extends through his label Relativity, whose latest EP brings together tracks by Mike Parker and Oscar Mulero, while his own productions have appeared on Svreca’s Semantica Records. For his DIG release, Translate shifts into a broader spectrum, revealing a side of his production that has remained unexplored until now. DIG Curated captures this moment of a new sonic expansion between his signature hypnotic journeys and a stripped-down techno sound. Expansive opens the record with Translate’s distinct mental techno, pushed into an added psychedelic dimension. With a vast and trippy sound, the track steadily fills the space, inviting the dancers to go inward and simultaneously reach out into a collective morphic field. With Discursive, the coordinates shift, introducing a very stripped-down techno side of Translate’s production and a palette rarely heard from him before. Reduced to its essential elements, the track cuts directly through the floor with a functional groove, whilst retaining the tension embedded in his sonic DNA. On the B side, Fuse accelerates with fast-moving pads, mechanical drums and swerving loops that gradually lock the body into trance. Quirky textures spiral throughout, with robotic glitches sounding like organic beings. Coefficients closes the record by pulling the listener into rich bass and expanding loops over a cold melody that guides the final journey into a cosmic unfold. Hypnotic sci-fi vocals emerge from an interplanetary future, traversing space in search of earthly traces. The record ends suspended somewhere between the transmission and unknown, like a sonic threshold. Words by Lora Mateeva Animation/Artwork - Marcin Pospiech Master - Nihad Tule Graphist - Ferdinand Prat

Warnings have a way of attracting the right people. Those who could read between the lines always found their way. On Parental Advisory, Horsemen deliver Deep Steppe's first full solo record, further strengthening the pipeline between Berlin and California with four carefully crafted cuts drawing from various shades of house music.

Celestial Echo Records presents Nathaniel Best – Set Your House In Order, an incredible gospel soul LP from 1986, finally back in circulation.

Originally released on Spirit Records of Nevada, the album is very much of its time in the best way — gospel music with drum machines, warm synths and basslines that push it right into modern soul and boogie territory. Nathaniel Best’s voice carries the whole record with real conviction, joined by group vocals and arrangements that give the album that rich, uplifting 80s gospel soul sound.

For us, the standouts are clear. “Call Him” is the boogie dancer — bright, driving and full of movement, the kind of gospel cut that sits perfectly in a modern soul or boogie set. The title track, “Set Your House In Order”, is something else entirely: a beautiful downtempo soul glider, deep and heartfelt, with that slow-burning quality that makes the whole LP feel so special.

Those two tracks tell the story, but the magic runs through the whole record. Scattered across the album are these amazing slower gospel soul moments, balanced with enough groove and lift to keep it moving. It’s not just a one-tracker, it’s a proper LP with feeling, range and a sound that collectors have been chasing for years.

Best’s musical story runs deep. He grew up around gospel, recorded from a young age, played piano in church, sang with the Love Center Choir under Bishop Walter Hawkins, and later worked with names including The O’Jays and The Fairfield Four.

Original copies have always been hard to come by, and the album has built a serious reputation with gospel, soul and boogie collectors over the years.

Buy or Cry.

Celestial Echo Records presents Nathaniel Best – Set Your House In Order, an incredible gospel soul LP from 1986, finally back in circulation.

Originally released on Spirit Records of Nevada, the album is very much of its time in the best way — gospel music with drum machines, warm synths and basslines that push it right into modern soul and boogie territory. Nathaniel Best’s voice carries the whole record with real conviction, joined by group vocals and arrangements that give the album that rich, uplifting 80s gospel soul sound.

For us, the standouts are clear. “Call Him” is the boogie dancer — bright, driving and full of movement, the kind of gospel cut that sits perfectly in a modern soul or boogie set. The title track, “Set Your House In Order”, is something else entirely: a beautiful downtempo soul glider, deep and heartfelt, with that slow-burning quality that makes the whole LP feel so special.

Those two tracks tell the story, but the magic runs through the whole record. Scattered across the album are these amazing slower gospel soul moments, balanced with enough groove and lift to keep it moving. It’s not just a one-tracker, it’s a proper LP with feeling, range and a sound that collectors have been chasing for years.

Best’s musical story runs deep. He grew up around gospel, recorded from a young age, played piano in church, sang with the Love Center Choir under Bishop Walter Hawkins, and later worked with names including The O’Jays and The Fairfield Four.

Original copies have always been hard to come by, and the album has built a serious reputation with gospel, soul and boogie collectors over the years.

Buy or Cry.

Three late works by Éliane Radigue, composed in intimate dialogue with singular instrumental voices Charles Curtis and Dafne Vicente-Sandoval, reveal the extraordinary technical control and sensitivity required to realize Radigue’s radically reduced sonic language. Presented here for the first time on LP, these works stand as a landmark document of the composer’s late acoustic practice, where microscopic shifts in tone, texture, and resonance become the music itself.


Éliane Radigue (composer)
Dafne Vicente-Sandoval (bassoon)
Charles Curtis (cello)

Hope & Sorrow turns 20: Wax Tailor announces a limited collector's edition in Orange & Black Marbled double vinyls.


Twenty years ago, Wax Tailor released Hope & Sorrow, his second album. Following the success of Tales of the Forgotten Melodies, this new record confirmed and amplified a trajectory already well underway. Gold record certification, a world tour, an Indie Music Award in the United States, and a nomination at the Victoires de la Musique in the "Best Electronic Artist" category: Hope & Sorrow would firmly establish his singular world, blending trip-hop, finely cut samples, and cinematic arrangements, far beyond French borders.


Two decades later, Hope & Sorrow has lost none of its power. To celebrate this anniversary, Wax Tailor unveils a limited collector's edition on double gatefold vinyl, crafted both for those who have followed the album since its release and for those discovering it today.


An opportunity to revisit a pivotal record in his discography, one that played a major role in establishing Wax Tailor on the international stage.

For 3+ years Razor-N-Tape has held their quarterly A Joyful Noise event in the Sound Room at Public Records. Conceived as a hearkening back to an early 2000s era of NYC nightlife, it is a club night that includes both DJs and live music. Led by JKriv as musical director and bassist, the live band is a collective of luminary NYC talent including singer Brandon Markell Holmes, guitarist Peter Matson, flutist/singer Domenica and percussionist Olatunji Ojore (Underground System), trumpeter Carter Yasutake (Midnight Magic), keyboardist Jason Lindner (Now Vs. Now/David Bowie), and saxophonist Stuart Bogie (Antibalas/Arcade Fire). Merging club sensibilities with jazz, funk and afrobeat pedigree, the A Joyful Noise repertoire includes live-interpreted renditions of J’s music and remixes, features by Razor-N-Tape artists, and original works. This album is a document of this special event, capturing all the live energy, moments of dazzling ensemble interplay, and features by artists Adi Oasis, Toribio and Corece.

Seit ihrer Gründung im Jahr 2020 teilen Kino Motel ihre Zeit zwischen Melbourne und Berlin auf und haben ihren Sound verfeinert sowie einen ganz eigenen Stil entwickelt, den sie Beach Goth" nennen. Von Kritikern wird dieser als eine Kombination aus australischem Gothic, Slacker-Rock, Post-Punk und Cinematic Noir beschrieben. Das Duo, bestehend aus Ed Fraser und Rosa Mercedes, ist bereits ausgiebig in Europa und Australien aufgetreten und hat zahlreiche Singles veröffentlicht, bevor es 2024 sein gefeiertes Debütalbum Visions" herausbrachte. Kino Motel freut sich nun darauf, im Oktober 2026 sein zweites Album Symbolism" zu veröffentlichen. Symbolism" wurde in Melbourne aufgenommen und in Berlin produziert und läutet mit seinem düsteren, filmischen Flair eine neue Ära für Kino Motel ein. Das Album ist sonnendurchflutet, aber unruhig, romantisch, aber zerfranst, filmisch, aber bruchstückhaft. Während Visions" ihre Welt vorstellte, vertieft Symbolism" diese nun nicht als strenges Konzeptalbum, sondern als Sammlung von Momenten, die durch ihre Anhäufung an Kraft gewinnen. Jeder Song steht für sich allein, doch zusammen bilden sie eine Reihe von Zeichen, Fragmenten und emotionalen Codes.

The journey continues.

For the seventh edition of the Vega Records 5 Pack Unreleased series, Louie Vega once again opens the vault to reveal a special collection of unreleased recordings, alternate versions, remixes, demos, tribute reworks and deep cuts from the Vega Records musical family.

5 Pack Unreleased VII brings together 15 tracks across five 12-inch records, showcasing the wide musical spectrum that has always been part of the Vega Records story. From soulful house and deep grooves to jazz, soul, Brazilian influences, live instrumentation, Latin influences, powerful vocals, disco-rooted rhythms and the freedom to experiment in the studio, this collection moves through many different sides of the music.

Some of these recordings have been waiting patiently in the vault. Others represent alternate versions of songs that continue to evolve through different interpretations. Together, they create another musical journey through the sounds, collaborations and ideas that have shaped the Vega Records universe.

These final recordings speak to something that has always been important to Louie’s musical journey: respecting the music that came before while finding a way to reinterpret it through his own musical language.

From Loleatta Holloway and Duane Harden to Elements Of Life, 2SoulFusion, Domo Domo, Brutha Louie & Brutha Basil, and the tribute recordings, 5 Pack Unreleased VII brings together different generations, different voices and different musical influences under one roof.

The Elements Of Life sound continues throughout the collection, with “Sunshine (I Can Fly),” “Every Step” and “Dreamer” offering special previews into the musical direction of the forthcoming 2027 Elements Of Life album.

This is the seventh chapter of the series, but the philosophy remains the same:

Open the vault.
Share the music.
Let the DJs discover it.
Let the dancers feel it.
Five records.
Fifteen tracks.

A collection of unreleased music, special versions, studio discoveries, tributes and musical experiments from the world of Vega Records — with plenty more waiting inside the vault.

DJ Support: Vladimir Ivkovic, Calm, LefTo, Dawn Again, Dream Chimney, Alexis Le-Tan, Afterlife, Sofa Elsewhere, Kreggo, Froid Dub, Johan Blende, Sean Johnston, Fabio De Luca, Dr. Rob, Leo Mas, Mark Broadbent, Patch, Stefano Tucci, DJ Nova

Three years after dropping Rapido Super studio on Hell Yeah, Caramel 3000 has slowed things down even further for his new eight-track LP, Super Tempra. This playful work gets stranger but even more inviting than ever with his signature OB-6 synth and the Eurorack modular, oodles of springy reverb, delayed balafon and scattered spoken-words. Caramel 3000 splits his time between the muddy waters of the Barene, south of the Venice Lagoon, and the dim light of a studio in Anderlecht. When not cruising in his sun-bleached wooden boat, he cherishes in the little light that reaches him at his shelter in Anderlecht. Renata and Piero, the couple on the artwork, once passed through that studio. This irregular sonic fusion of this EP came out of that visit. It's a fantastical collage that dissolves the boundaries between devotion and daydream with syrupy choir voices and fragments of Nancy Fraser lectures drifting in and out like the plot of a half- remembered hallucination. Quotes from legendary Italian singer Ornella Vanoni, children’s percussion and mystic melodies are looped and modulated into slow-burning psych - outs.

After the ancient sci-fi dub of the opener, 'Corsa Nudi' pairs the occult with the primitive, 'Arena Deriva' melts to watery droplets and glacial waves, and 'Acqua Tofana' is polyrhythmic tribalism from another dimension. 'Lente Virtus' marries melodic innocence to trippy humid density and 'Soft-shell Crab' is a woozy kaleidoscope with the happy accidents left in. 'Cacciatore di Frodo' is a haunting apparition from the deep and 'Vittoria Foresta' suspends you between the earthly and the otherworldly. Super Tempra is half the speed but twice the depth and full of wonder.

2026 Repress
Rights: World excluding FR & UK

Packaging: 2 x Gold-On-Clear Splatter Vinyl, 5mm spine sleeve, 2 x printer inner sleeve, marketing sticker

SHORT BIOG & KEY POINTS
" Goldie's 1995 debut Timeless is often described as one of the greatest dance music albums of all time. As one of the founders of Metalheadz, one of the most influential drum and bass labels, Goldie helped shape the sound of a generation, and a genre that has spanned over 3 decades.
" "Listening to Timeless is like taking an adventure. If the limits of music are the limits of society, then Timeless is going to create new worlds. It's a record that travels from darkness to light across electronic oceans, across streetsoul, ambience and jazz."

" London Records celebrate 30 years of Timeless with limited edition vinyl formats, re-imagining the original white sleeve and putting the album on double vinyl for the first time since '96, with new liner notes from Tim Carr. Remastered audio.

Following his appearance on Artist Series 2, Beppu returns to Alt Dub with Forms, a new release exploring the deeper, more experimental side of his dub aesthetic.

Recorded and shaped through analogue equipment, tape, mixing desk and effects, Forms is an exercise in space, texture and repetition. Deep bass weight, drifting echoes and finely layered electronic tones move through each piece, creating a sonic world that feels both stripped back and richly detailed.

Forms sits comfortably on the exploratory edge of the Alt Dub catalogue, drawing on the fundamental principles of dub while pushing them into more atmospheric and experimental territory. It is music built for deep listening—minimal in its ingredients, expansive in its effect.

The release is completed by two remixes of Traces from Stephen Hitchell, appearing under his CV313 and Intrusion monikers.

His respective Morning Dub and Evening Dub interpretations take the track in contrasting directions, extending its hypnotic qualities through deeper, more spacious treatments.

With its combination of analogue warmth, deep-space atmospherics and restrained dub experimentation, Forms is a carefully crafted addition to the Alt Dub catalogue.

Do not adjust your tuning! Cowper emerges disc in hand from the liminal static, exposing us all to his peculiar brand of outsider club chaos. Boldly, slowly, Goa-ing into the fray, these three tracks chew your ear off in the sonic language of acid, trance and progressive house, churning and gurning their way deep into the darkness. In the time since the first dispatch of edit excellence, Cowper’s Between Stations has firmly established itself as an essential underground outpost, adding tape releases by Tolouse Low Trax, Zato and Miles J Paralysis to a growing catalogue of genre-fluid mayhem, consistently captured by his essential Noods Radio shows. Introducing itself with a gut punching kick and gurgling prog throb, the first track here is simultaneously upbeat and downcast, a glorious gloom-core ode to narcotic indulgence.
Extra-terrestrial pads and choral synth hark back to childhood days of Perfect Dark before a trance lead interrupts all remaining neural connections. When that snare lands in the second half we’re in fully fledged techno-pagan mode, red-faced and rushing right till the end. Assuming that even xenomorphs dance sometimes, this end of the world apocalypso is absolutely their jam. Track 2 tunnels further into the planetary core, 16bit woodblocks and bells sitting atop synthetic swells and hoover-ish vamps, before a hooning bassline drops like a sledgehammer on your unsuspecting ear drums. An unexpected, but very welcome left turn into mid track breakbeat provides a moment of airy reprise before we lock back into the cavern-shaking groove until the run out abates. For the encore, Cowper didgeri-doesus with the oscillating bass and molasses-apache break of a techno-tribal, prog-frog delicacy. Complete with the type of mantra vocal usually found on pound-bin trance or superspenny Dream House rarities, and a little acid-gwamph resonance abuse Josh Wink would be proud of, this chug-athon sounds a bit like Psychic TV tuning into Psy-trance, which is a very good thing indeed. Dark, dense and musky stuff that will drive a proper dance floor wild.

Really very exciting to introduce this new project by Dadada & Eden Burns.
Together they offer their first collaborative outing with „Your Gonna Lose Vol 1“ that contains fabulous (dance)music
mixxed up w/ some fun, social studies.

Coming from deep within the city that brought us Master P’s legendary No Limit Dynasty and Lil Boosie comes an artist who uniquely encapsulates the crossing point between lowslung Hip Hop and forward thinking, emotive electronic music. 22-year-old New Orlean’s based Suicideyear AKA James Prudhomme brings his own Southern Gothic perspective to the table with new album ‘Color The Weather,’ set for release on July 6th via LuckyMe. Although not his debut album per se - 2015’s ‘Japan’ on OneOhTrix Point Never's Software label was a collection of previously released beats – ‘Color The Weather’ represents the first time Suicideyear has specifically sought to create a complete body of work, further developing different textures and sounds that were hinted on last year’s critically acclaimed ‘Hate Songs’ EP. Within these tracks lie the ghosts of Prudhomme’s past - a difficult childhood truncated in his teens by his family home burning down. When he left Baton Rouge for his new home in New Orleans he found himself further entrenched in the Southern Rap scene whilst he soaked up the avant-garde electronic music he found online. Balancing his tender instrumentation alongside some of the tightest drum programming in the game - these tracks twist and turn - new elements are built and destroyed constantly encompassing a huge emotional range. On the records’ two vocal features he expounds on this innovative and ambitious duality – Domino Records own Georgia filling the track with longing and hope whilst Prudhomme deconstructs the track around her. The Casey MQ featured ‘Said and Done’ goes further - the last third of the track slowing to a codeine induced haze paying a nod to the Chopped and Screwed sound of James youth. “​Color The Weather is about the ability to build or form security after trauma/betrayal & building personal coping mechanisms to get through said traumas. Doing what it takes to control your life when powers are working against it. The total resilience of the human spirit.​” James Prudhomme

Other Plans is the fifth full-length album by Swedish composer, producer, and vocalist Daniella Ljungsberg, and her third release on ORTHODOX. Returning to her early training in Baroque and Renaissance music, Ljungsberg reimagines these formative influences through the electroacoustic language she has developed over the years. Across seven tracks, harpsichord, double bass, bassoon, and trombone intertwine with modular synthesis, field recordings, and digital processing, moving between intimate songwriting and minimalist composition. Swedish folk echoes, Baroque sensibilities, and meticulous sound design dissolve into a singular musical landscape shaped by memory, nostalgia, and imagination. Created in a time of uncertainty and disorientation, Other Plans carries a delicate tension between melancholy and hope, transforming the act of looking back into a means of moving forward.

I love the shared experience of music more than almost anything, but the longer I exist in the industry, the harder it is to stay emotionally connected to an album once it’s reduced to numbers and statistics. So I wanted to release this in a way that feels more human—and affordable, especially in wartime. Your support helps create more music, not ads for ICE. Someday the machine will get it, but for now I just want this to feel like an experience again.

Reconcile at the Tile Works, Recorded Live, was captured inside Moravian Tile Works in Doylestown, Pennsylvania. A place built by artist Henry Chapman Mercer, who spent the early 1900s shaping tiles by hand, one at a time. No shortcuts. Just craft, fire, and time. That spirit is all over this record. Some of these songs I haven’t played in years because of how they made me feel and what they conjured in me.

Reconcile at the Tile Works, Recorded Live, won’t be on streaming services. Because art and music deserve more. If you want to hear it, go where music still lives:

Support artists directly. Support the shops that keep the culture alive.

Australian psychedelic rock band Druid Fluids return with Pareidolia, an ambitious second album exploring perception, superstition and the human instinct to find meaning in patterns, whether real or imagined.

Written and recorded in Adelaide at songwriter and producer Jamie Andrew’s home studio, Pareidolia unfolds across ten expansive and immersive tracks that push the possibilities of psychedelic music. Released by Australia's Third Eye Stimuli Records, the album arrives as a 2LP vinyl exclusive that includes a D-Side with bonus tracks taken from the recording sessions.

Psych-rock and melodic pop collide with krautrock rhythms, cinematic dreamscapes, classically inspired arrangements and experimental production. No two songs inhabit quite the same world, and the album never lingers in one room for long.

Influenced by the inventive songwriting of The Beatles, The Beach Boys and Frank Zappa, the atmospheric sophistication of AIR and contemporary psychedelia from Tame Impala, King Gizzard and Melody’s Echo Chamber, Druid Fluids balance vintage warmth with a distinctly modern sense of possibility.

Pareidolia is hypnotic, intimate and surreal. Melodies twist and reform, rhythms circle back upon themselves and subtle motifs appear like half-recognised symbols. Its labyrinthine passages and dream-logic imagery invite listeners into an immersive space where clarity and confusion remain in constant negotiation.

Pareidolia follows the band’s acclaimed 2023 debut, Then, Now, Again & Again, whose first vinyl pressing sold out worldwide. Since then, Druid Fluids have toured Europe and shared stages with The Brian Jonestown Massacre, Wolfmother, Psychedelic Porn Crumpets, The Murlocs and Amyl and the Sniffers.

Immersive, melodic and wonderfully unpredictable, Pareidolia is a psychedelic masterpiece that rewards repeat listening, revealing new details and hidden connections with every spin.

Long before streaming services, podcasts, or even the compact disc, there was Tellus—a radically ambitious publication that imagined recorded sound as an exhibition space. Founded in 1983 in downtown New York, Tellus transformed the humble audio cassette into a magazine, commissioning and publishing new works by musicians, composers, visual artists, poets, writers, choreographers, and performers who were reshaping the boundaries of contemporary art. Each issue invited listeners into a world where no wave, industrial music, spoken word, Fluxus performance, electroacoustic composition, downtown pop, conceptual art, and avant-garde experimentation could coexist on equal footing. More than forty years later, Earth Libraries proudly presents TELLUS: The Audio Cassette Magazine Anthology Vol. 1, the first comprehensive anthology devoted to the groundbreaking publication. The story of Tellus begins, fittingly, at the Rum Runner Bar on Canal Street. There, in 1983, visual artist Joseph Nechvatal, curator Claudia Gould, and composer Carol Parkinson conceived an entirely new kind of publication. Portable cassette players were transforming how people experienced music, and the trio saw an opportunity to use the cassette itself as a curatorial medium—one capable of circulating work that traditional record labels, galleries, and magazines simply couldn't accommodate. Early recordings by Sonic Youth and Liquid Liquid sit alongside works by James Tenney, George Brecht, Takehisa Kosugi, Carol Parkinson, Y Pants, Live Skull, Shelley Hirsch, Lenny Pickett, Paul Dresher, Gregory Whitehead, and dozens of other artists whose work helped define one of the most fertile creative communities of the era. For Earth Libraries, restoring Tellus represents a continuation of the label's commitment to preserving overlooked musical histories. Working from the original cassette masters, every recording on TELLUS: The Audio Cassette Magazine Anthology Vol. 1 has been carefully restored and newly mast

Almost four decades in the making, Dave Seaman’s very first artist album ‘Mirrorball Sleaze’ has finally been completed and will arrive on Selador on November 6th. Featuring a heady mix of both new and old recordings, all created, revised and / or re-purposed especially for this project, this assemblage represents the best of Dave’s sprawling oeuvre, joining the dots between the some of his most celebrated past glories right up to the present day, where he remains on the frontline of electronic club music. A culmination of a life lived and breathed in the trenches of acid house.

This limited vinyl edition will feature all 11 tracks especially segued together, split into two flowing listening pieces across sides A and B. After a long and storied vocation in music, his own artist album was the one itch Dave has long wanted to scratch. And now, at long last, it has arrived - a sultry, shimmering beauty, by turns deep and euphoric. A career milestone.

Almost four decades in the making, Dave Seaman’s very first artist album ‘Mirrorball Sleaze’ has finally been completed and will arrive on Selador on November 6th. Featuring a heady mix of both new and old recordings, all created, revised and / or re-purposed especially for this project, this assemblage represents the best of Dave’s sprawling oeuvre, joining the dots between the some of his most celebrated past glories right up to the present day, where he remains on the frontline of electronic club music. A culmination of a life lived and breathed in the trenches of acid house.

This limited vinyl edition will feature all 11 tracks especially segued together, split into two flowing listening pieces across sides A and B. After a long and storied vocation in music, his own artist album was the one itch Dave has long wanted to scratch. And now, at long last, it has arrived - a sultry, shimmering beauty, by turns deep and euphoric. A career milestone.

Three years after the release of their debut album, Do Nothing return with their much anticipated sophomore, 'Friend World'. The Nottingham four piece consisting of Chris Bailey, Kasper Sandstrøm, Charlie Howarth, Andrew Harrison, emerge bolder, self-assured and more energetic than ever.

Lead single 'Stars' gives an insight into the upcoming LP, synth-laden with hypnotic riffs, meandering vocals and bouncing basslines. The single, already a fan favourite, paves the way for listeners to enter the 'Friend World' that Do Nothing have created. At first glance, the album is overflowing with hard hitting guitars, infectious rhythms and frontman Bailey's signature razor-sharp witted lyricism, but dive deeper into tracks such as These People Want Blood and standout track Loner, to find an alternative take on the album, representing a softer and more pensive side of the band's writing.

Following her previous appearances on Blueprint, Manchester-based techno artist Kerrie returns to the label with her latest release, "Pressure Signal". The four-track EP sees Kerrie deliver another focused collection of raw, uncompromising techno, continuing her distinct approach to dark, gritty, metallic and industrial sounds.

Kerrie is a multidisciplinary artist whose work spans live performance, production, DJing and running her own label, Dark Machine Funk. Having honed her craft for almost 20 years, Kerrie has developed a sound deeply rooted in UK, Detroit and European techno, with her sets and productions characterised by tough moods, high energy and a strong sense of groove.

Kerrie first made her debut on Blueprint in 2022 with her"Raw Regimen" EP, before returning to the label with further releases in 2024 and 2025 and joining the Blueprint crew at showcases around the globe.

Futurismo are proud to present DEVO’s NITROUS NIGHTMARE, Halloween Live ‘75. Never before released, or heard in it’s entirety, this legendary live performance is presented here in it’s full chaotic glory on Super Limited edition Deluxe cassette format!
The live release all hardcore Devo fans have been waiting for, Nitrous Nightmare demonstrates a band harnessing their artistic greatness in the purest of forms. This mythic performance captures Devo perfecting some of their most iconic concepts in the raw. Expertly restored, this live recording makes for a thrilling experience, it also captures Devo as a lightening rod for hostility.
On Halloween 1975, Devo took the stage at the WHK Auditorium in Cleveland, in a supporting capacity for jazz legend Sun Ra, to perform for a raucous crowd dressed in the finest of Halloween cliché. Already riding high on Nitrous Oxide and booze supplied by the sponsoring radio station, this unaware horde was expecting to see a slick cover band churning out renditions of Bad Company hits, only to be subjected to an act of subversive performance art that would send the growingly aggravated crowd into eventual meltdown. Physical threats ensued, but Devo played on.

“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