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One of the most anticipated films of the fall, Primetime releases on September 25, directed by Lance Oppenheim (Sperm World, Some Kind of Heaven), and starring Robert Pattinson as "To Catch a Predator" host Chris Hansen. The soundtrack is equally star studded, with an original score composed by frequent collaborator of Oppenheim's, Ari Balouzian, plus an original song by Phoebe Bridgers.

One of the most anticipated films of the fall, Primetime releases on September 25, directed by Lance Oppenheim (Sperm World, Some Kind of Heaven), and starring Robert Pattinson as "To Catch a Predator" host Chris Hansen. The soundtrack is equally star studded, with an original score composed by frequent collaborator of Oppenheim's, Ari Balouzian, plus an original song by Phoebe Bridgers.

Detroit's Javonntte returns to Yore Records with four soulful, late-night house cuts, blending deep grooves, warm jazz-infused harmonies and rich chord progressions. Staying true to his unmistakable style, the EP combines timeless musicality with dancefloor functionality, creating an atmosphere equally suited for intimate listening sessions and underground clubs.
Adding another personal touch, Javonntte performs his own vocals on selected tracks, bringing even more soul and authenticity to this deeply personal collection.
From the driving "Donnie Brasco" and atmospheric "Dream of Mind" to the heartfelt "Let's Not Wait Any Longer..." and uplifting "Morning Till the Groove", this is classic Yore Records territory: sophisticated, soulful house music with depth, warmth and lasting appeal.

Frozen Flashes is the new album by Okvsho, the Zurich-based project of brothers Christoph and Georg Kiss.


Recorded through sessions in Zurich and London, the album begins with musicians playing together in the room. Improvisations, rhythms, textures and small spontaneous moments are captured, then sampled, cut and rearranged into nine carefully shaped tracks.


Featuring collaborations with Azekel, Melodiesinfonie, FloFilz, Tenderlonious and Hadel, Frozen Flashes is built around the moments that are impossible to plan — brief flashes that appear in a session, disappear again, and sometimes become the starting point for an entire song.


Catch Okvsho +experience live across Europe this autumn — bringing Frozen Flashes on the road.

Naughty Boys, originally released in 1983, was Yellow Magic Orchestra’s seventh and final album to top the Japanese Oricon Pop charts.

A remix album, Naughty Boys Instrumental was released in July 1983. It contained nearly the entire Naughty Boys album as instrumental tracks in an entirely different running order, as well as the b-side to "Kimi Ni Mune Kyun", "Chaos Panic"; and the full instrumental version of "You've Got to Help Yourself", of which the vocal track was included on Service.

Naughty Boys Instrumental featured additional synthesizers imitating the vocal lines, as well as new embellishments and mixes. Several tracks featured sonically updated percussion tracks, while "Ongaku" featured an acoustic piano soloing over the piece.

This release combines both the original and instrumental albums. Naughty Boys & Instrumental is available on black vinyl and includes a 4-page booklet.

** Vinyl-exklusive Tracks
Kosmische Psychédélique (Motorik, Astral and Avant-Garde Musik from Deutschland and Beyond 1970–2025)

Der neue Two-Piers-Sampler "Kosmische Psychédélique" entführt den Hörer auf eine Reise durch die hypnotische Welt der Kosmischen Musik – von den wegweisenden Motorik-Beats, elektronischen Experimenten, psychedelischen Klangwelten und avantgardistische Ambient-Sounds des Deutschlands der frühen 1970er Jahre (La Düsseldorf, NEU!, Harmonia, Cluster, Brainticket, Klaus Schulze, Popol Vuh, Faust, Guru Guru, Tangerine Dream) bis zu zeitgenössischen Künstlern, die deren astrale, ambiente und avantgardistische Möglichkeiten von Wiederholung, Textur und Raum auch heute noch ausloten.

So schlagen Acts wie Boards Of Canada, Turzi, Tortoise, Beak>, Pale Blue Eyes oder The Early Years Brücken zu Post-Rock, Shoegaze und Electronica, und veranschaulichen damit, wie das vor über fünf Jahrzehnten in Deutschland etablierte musikalische Vokabular bei einer neuen Generation psychedelischer und experimenteller Künstler Anklang fand und findet – und bis heute noch nachwirkt.

Wie alle Ausgaben der "Psychédélique"-Serie ist auch diese Ausgabe keine Crave-Digger-Sammlung obskurer, schwer zu findender Raritäten, sondern eine Hommage an die Kosmische Musik, die die Gelegenheit bietet, in ihre eigenwillig-wunderbaren Klänge einzutauchen und ihre Genialität zu genießen.

2026 Repress
Gockel steps out with Otorongo - a 4-track EP of deep, dub-infused techno touched with Detroit spirit. Heavy low-ends, driving rhythms, and atmospheric layers make this one built for heads and dancefloors alike. Each track carries its own depth and character, yet together they form a powerful and immersive journey. Released as the second chapter on Patent, this record showcases the label's evolving sonic identity.

Die vollständigen Aufnahmen aus der ,Crank!"-Ära des wegweisenden texanischen Nicht-Emo-Quartetts Mineral sind nun erhältlich. Auf drei LPs versammelt finden sich Nachdrucke von ,The Power of Failing" aus dem Jahr 1996, dem Abschiedswerk und zweiten Album ,EndSerenading" sowie ,_And What Remains" - einer neuen Sammlung von Singles und Demos. Nina Corcorans ausführliche Begleittexte entwirren die komplizierte Geschichte des zurückhaltenden ,mittleren Bruders" der zweiten Welle, illustriert durch Dutzende von historischen Fotografien, Flyern und Songtexten in grellen Farben. Überzeugen Sie sich selbst.

Die vollständigen Aufnahmen aus der ,Crank!"-Ära des wegweisenden texanischen Nicht-Emo-Quartetts Mineral sind nun erhältlich. Auf drei LPs versammelt finden sich Nachdrucke von ,The Power of Failing" aus dem Jahr 1996, dem Abschiedswerk und zweiten Album ,EndSerenading" sowie ,_And What Remains" - einer neuen Sammlung von Singles und Demos. Nina Corcorans ausführliche Begleittexte entwirren die komplizierte Geschichte des zurückhaltenden ,mittleren Bruders" der zweiten Welle, illustriert durch Dutzende von historischen Fotografien, Flyern und Songtexten in grellen Farben. Überzeugen Sie sich selbst.

Die Band ,The Holy Kiss" aus San Francisco erhebt sich aus dem Grab, um ihre letzte Aufnahme erstmals auf Vinyl zu veröffentlichen. Aufgenommen im Jahr 2009 von Skot Brown (The Phantom Limbs, Altar de Fey) und zuvor auf 50 handgefertigten CD-Rs veröffentlicht, ist ,Gunslinger" ein raues Meisterwerk aus der Blütezeit von The Holy Kiss mit vier Songs, die feurigen Blues mit Blut, Schweiß und einer kräftigen Prise The Birthday Party vermischen. Der Titeltrack der 12", ,Gunslinger", ist ein Cover eines Bo-Diddley-Songs, den die Band so arrangiert hat, dass er ihrem Hang zur melodischen Kakophonie entspricht. Frontmann Matty Rue Morgue singt mit dunkler Sonnenbrille aus tiefster Seele, während ,Schlagzeuger Nick Ott wie ein Riese über einem elfenhaften Schlagzeug thront und die Felle so fieberhaft bearbeitet, dass er eine Selbstentzündung riskiert" (Tatiana Simonian, L.A. Weekly). Das im Jahr 2000 offiziell gegründete, von schwarzem Humor geprägte, altmodische und gut gekleidete Quartett ,erzeugt einen dunklen und auf süße Weise dissonanten Krach, der an Mordballaden erinnert und perfekt dazu geeignet ist, die im Limbus schwebenden Geister der Betrüger, Verrückten, Säufer und anderer gesellschaftlicher Ausgestoßener heraufzubeschwören, über die die Band gerne in ihren schattenhaften, Dickens'schen Liedchen" (Bill Picture, San Francisco Chronicle). Die Veröffentlichung von The Gunslinger enthält außerdem eine Bonus-7"-Single mit Solo-Aufnahmen, die Matty Rue Morgue 2009 gemacht hat - nur wenige Jahre vor seinem viel zu frühen Tod im Jahr 2015. Darauf sind zwei Songs von Matty und ein Song von The Holy Kiss (,Go Head N Count `Em"), die für Solo-Akustikgitarre neu arrangiert wurden. In seiner Version von ,Go Head N Count `Em", gespielt mit Liebe und tiefem Respekt vor der Blues-Tradition, lässt sich Matty gleichermaßen von Lightnin' Hopkins und Lux Interior inspirieren.

Aocram returns to their eponymous label with a high-end techno EP featuring four psychedelic cuts that unfold through intense and sophisticated soundscapes while revealing the breadth of a distinctive sonic palette.

2026 Repress

DJ Stingray 313's INDUSTRY 4.0 EP is a sonic exploration into modern manufacturing concepts and the impact on humanity.
Moods and titles across the EP cover artificial intelligence (LARGE LANGUGE MODEL), the internet, and robotics (MULTI FUNCTIONAL ROBOTICS and SENSOR DATA) – all set to his signature high-energy, industrial, cyborg-style productions.
Together, the tracks on INDUSTRY 4.0 work as a striking and current introspective of humanity’s uncertain evolution, moving as fast as the technology it creates.

Astro’, the new double LP by Donato Dozzy, is in many ways a culmination and intersection of life-long interests, and Tresor Records is delighted to announce that it will launch into the cosmos on November 20, 2026.
Donato Dozzy is beloved for his way of blending synthesised sounds into seamless, deep, hypnotic works, whether as a DJ or in the studio. So it might come as a surprise that at the root and source of Dozzy’s musical inspiration, we find Japanese children’s cartoons and toys.
In the late 70s into the 80s, Italian youngsters, including Dozzy, were captivated by a wave of Japanese cartoons featuring Jumbo Machinders, awe-inspiring robots on adventures beyond our solar system. Every episode came dubbed into Italian, and had its own specially written Italian theme song, each pressed onto a 7inch single. This was the launchpad for two lifelong obsessions: vinyl records and vinyl figurines, and still kept in his home today in immaculate, carefully tended collections.
In 2025, Dozzy took a sample from the first of the Japanese themes he ever owned, Astro Robot Contatto Ypsylon. Marking the first time he had directly sampled a song for his own work, later to become the track ‘Astro’, this created an impulse to begin a series of new music, sparked by the robots in his collection.
Dozzy’s meticulous respect for his collections is reflected in the precision of these tracks. Elements within each track are harmoniously organised together while ever retaining a sense of space that reflects the cosmic subject matter. Explorative tracks like ‘Raydeen’, and ‘Himika (M Song)’ exemplify this with powerful yet gentle arpeggios, while ‘Pegasu’ brings forth visions of robots assembling for a deep-space mission launch.
Much like the human characters in the cartoons who piloted the Jumbo Machinder robots, on ‘Astro’, Donato takes control of mighty machines such as the EMS Synthi AKS to create sonic journeys for us all to embark on. ‘Jumbo Crack’, written on the AKS, is a soaring beatless piece built of rising bass tones and white noise that combine to conjure taking off from earth or a long journey through space. The whole collection is rounded out with ‘Ryoma (Lò Song)’, a gigantic trance anthem that could easily be the closing credits of your favourite childhood cartoon.
With ‘Astro’, Donato Dozzy pulls together threads in his life: the warp of music and synthesisers intertwining with the weft of childhood memories. A tribute to that freedom to dream, and to the sounds that, from the turntable of his childhood, led him toward alien and technological musical territories.

The next WOLF Music EP is here, and once again it comes courtesy of a new addition to the label roster. New York-based DJ and producer DJ Alone Again is a natural fit for what we do at WOLF, delivering a sound that hits that sweet spot where deep meets soulful, with the raw, understated energy of the authentic New York underground running through every track.

With a growing catalogue of original productions and edits, DJ Alone Again has released music through labels including YORE Records, House Salad Music, Dobro, Fantin Zoo Records, and Dealt With Records. His musical roots extend beyond house, too. Earlier work with the band Vain Pursuit, alongside a wealth of SoundCloud mixes and underground edits, reveals an artist with a deep appreciation for melody, songwriting and the emotional side of dance music.

Opening the EP is ‘Freedom of House’, a sublime take on the classic NYC-meets-Chicago deep house sound. Warm, soulful and hypnotic chords sit at the heart of the track, surrounded by intricate, skippy percussion and a deep, driving bassline. Carefully placed female vocal snippets drift in and out of the groove, while a spoken-word ode to the freedom and self-expression that house music offers provides the track with its emotional centre. It’s a celebration of movement, individuality and that unspoken connection forged on the dancefloor.

On the A2, ‘State of Flux’ keeps those warm, evocative chords front and centre, building an infectious groove around an instantly memorable melody courtesy of the vibes. Subtle synth strings add depth and atmosphere, bringing a touch of late-night melancholy to the arrangement, while the rhythm rolls steadily underneath. Everything is expertly layered without ever feeling crowded, giving the chords, melody and percussion room to breathe whilst pulling the listener deeper into the track.

‘Horizontal Patterns’ takes the winning formula of ‘State of Flux’, adding a beautifully understated vocal hook that sums this track up perfectly: deep in the groove.

Closing out the EP is ‘In Your Orbit’, a serene, dream house number with a deeply hypnotic edge. Ethereal flute lines drift through the arrangement, weaving around vocal phrases that seem to lift the consciousness somewhere beyond the dancefloor. There’s a sense of weightlessness and escape in the arrangement, but the dance floor pulse courtesy of the warm chord stabs never lets you float too far away. Dreamy yet deeply rooted, it’s a meeting point between introspection and movement; music to lose yourself in.

If this EP had landed on Guidance 30 years ago, it would probably be changing hands for a small fortune on Discogs by now.

Instant classic material.

In their countless years of deep digging, Dark Entries has uncovered many curiosities, oddball Italo and synth-wave creatures too rare to live, too funky to die. Dark Entries’s conservationist efforts began with 2020’s Endangered Species Vol 1. Six years later, we are finally treated Endangered Species Vol 2, an even more ambitious effort which features eleven specimens previously deemed extinct, now safely preserved on vinyl. Things kick off with an extended mix of Palazzo di Danza’s “Play That Song For Me,” a lavishly produced German-Italo number propelled by a slinky bassline. Russian Olga Vosconyan’s “Cars” delivers what might be the moodiest song ever produced for a car commercial.

Fuzz Dance maestro Alexander Robotnick appears with a previously unreleased male vocal demo version of “I Wanna Believe,” a legendary track that would later appear under the name Gina & the Flexix. Canadian industrial royalty Dwayne R. Goettel (Psyche) and cEvin Key (Skinny Puppy) team up on the horror-sampling hit-heavy blaster “Bastards.” Belgian EBM progenitors à;GRUMH... report for duty with a slab of machine funk on “The Army.” UK DIY stalwarts Khmer Rouge bring Krautrock-inflected minimalism with “Take Me (Across the Floor Tonight) In Dub.” Endangered Species Vol 2 comes housed in a sleeve designed by Eloise Shir-Juen Leigh, and includes a 16 page booklet featuring liner notes, lyrics, and photographs of each featured project. Please assist Dark Entries in their efforts to preserve the rarest of beasts (and beats).

„Song of Songs“ ist die zweite Sammlung von Hard-Bop-Avantgarde-Kompositionen des legendären Trompeters
Woody Shaw auf dem Label Contemporary, produziert von Lester und John Koenig. Mit einer hochkarätigen Besetzung, darunter Benny Maupin, George Cables und Henry Franklin, bringt diese Neuauflage von
Jazz Dispensary Top Shelf das Album nach fünf Jahrzehnten wieder auf Vinyl – geschnitten von Kevin
Gray direkt von den originalen analogen Bändern (AAA), gepresst auf 180-Gramm-Vinyl bei Fidelity Record
Pressing, in einer Gatefold-Tip-On-Hülle.

The highly acclaimed U.K post- punk band Joy Division was originally called Warsaw . Formed in Manchester, England in the late 1970s, the group consisted of Ian Curtis on vocals, Bernard Albrecht (aka Sumner, aka Dicken) on guitar, Peter Hook on bass and Stephen Morris on drums. Hook, Albrecht and Curtis hooked up at a local concert and later formed the group Warsaw. The band's name was taken from a David Bowie- Brian Eno composition, "Warszawa". The 5 bonus tracks on this album are demos cut by the group at Pennine Studios in Manchester on July 18, 1977 with Steve Brotherdale on drums. The first eleven tracks presented here were the result of a recording session for that album that took place in early May of 1978. Rehearsals leading up to the session resulted in two new songs being added to the group's existing repertoire: "Interzone" and "Transmission." "Interzone" was based on the backing track of the song "Keep On Keepin' On," to which the band added their own lyrics. The result was a song distinctively their own. "Transmission" was written by the band during the final week of rehearsals. The first verse contains a quotation from Alistair Crowley's The Book Of Thoth. The two recordings are interesting renditions of songs which would later became famous.

Vincent Fiore returns to primediv.space with Roller Coaster, a double 12 inch, vinyl only package that transforms the song into multiple identities providing something for everyone. Inspired by the resident DJs of NYC in the late '90s and early 2000's who would "break" records by playing songs alongside their acappella and utilizing specific effects as hooks throughout the night, Roller Coaster provides all of the tools to create such a story in DJ sets ranging from ambient electronic all the way to techno.


Vincent Fiore returns to primediv.space with Roller Coaster, a double 12 inch, vinyl only package that transforms the song into multiple identities providing something for everyone. Inspired by the resident DJs of NYC in the late '90s and early 2000's who would "break" records by playing songs alongside their acappella and utilizing specific effects as hooks throughout the night, Roller Coaster provides all of the tools to create such a story in DJ sets ranging from ambient electronic all the way to techno.

In the seclusion of a house in the Bavarian Forest, something unfolded that felt less like a conventional album production and more like an internal process of condensation. This house wasn’t a studio - it was a retreat. Its 1960s-inspired interiors, creaking wooden stairs, and crackling fireplace shaped the sound of Carl Gari as much as the instruments themselves. Though the house no longer exists, its atmosphere remains present in the recordings.


The music of Carl Gari - Jonas Yamer, Till Funke, and Jonas Friedlich - resists easy categorization, a trait that continues on this monumental new album. From the friction between electronic music and guitar textures, the trio forges a distinctive, idiosyncratic sound. Distorted electric guitars and pulsating basslines intertwine with analog drum machines, tape delays, and intricate effect chains, creating music that is raw, organic, and psychedelic. A new element on the album is the trio’s first use of vocals: Jonas Yamer, usually on bass, raises his voice in a punk-tinged, invented language that hints rather than narrates, unsettling more than it explains.


The guest artists do not merely decorate the sound - they alter its very structure at critical points. Polygonia contributes layered vocals that mesh seamlessly with the album’s technoid architecture. Will Brooks of Dälek delivers a dark rap feature on ‘Poison Shyness (Anti-Social)’, his words carving the sonic space with precision. Coby Sey adds introspective vocals that hover between experimentation and restraint on ‘Inner Link’. New York rap pioneer Sensational introduces a deliberately rough, individual counterpoint on ‘Disco Lights’, while the German percussionist Simon Popp drives the album forward with an uncompromising drum performance that insists rather than accompanies on ‘Zeitesser’.


The cover photographs, taken by Jonas Yamer, project images of corridors onto paintings located in the now demolished house where the album was recorded. Visually, this reflects a key motif of the album: spaces exist only as overlays and echoes - not mystical ghosts, but traces of a place that has physically vanished.

Recorded between 2016-2024 in Neunburg vorm Wald and Munich. With kind support by Kulturreferat der Landeshauptstadt München.
Mixed by Johannes Wagner aka J.Manuel at Apollo Studio, Berlin (A1, D1 w/ Fadi Mohem). Mastered & cut by Stefan Betke at Scape Mastering.
Photography by Jonas Yamer. Packaging design by Sepehr Mokhtarzadeh.

Belgrade's rising underground force Ledeni makes his KUJE Records debut with Liminal State, an emotional four-track EP exploring vivid sonic narratives through driving rhythms and hardware textures, inspired by the roots of acid and dub techno.

Mit "Karaoke Bar" präsentieren Angus & Julia Stone ihr siebtes Studioalbum und schlagen erneut ein spannendes neues Kapitel in ihrer musikalischen Entwicklung auf. Entstanden auf Reisen rund um den Globus, vereint das Album die Eindrücke von Orten, Begegnungen und Momenten zu einer lebendigen, atmosphärischen Songsammlung. Erstmals setzen die Geschwister verstärkt auf elektronische Elemente, die den charakteristischen Sound des Duos erweitern und gleichzeitig die vertraute emotional-intime Klangwelt bewahren. Im Fokus steht dabei eine spürbare Leichtigkeit und Freude, die sich durch das gesamte Album zieht.

Gesanglich agieren Angus und Julia dabei enger denn je: im Wechsel, im Einklang oder harmonisch verwoben verleihen sie jedem Song zusätzliche Tiefe und Ausdruck. Die aufwendige Produktion unterstützt die erzählerische Kraft der Stücke und hebt die jeweilige Stimmung eindrücklich hervor.

"Karaoke Bar" fängt musikalisch wie lyrisch ein Gefühl ein, das zwischen Nostalgie, Melancholie und Gegenwart schwebt – und öffnet den Hörer:innen ein intensives Tor zu einem bewusst erlebten Moment.

Mit "Karaoke Bar" präsentieren Angus & Julia Stone ihr siebtes Studioalbum und schlagen erneut ein spannendes neues Kapitel in ihrer musikalischen Entwicklung auf. Entstanden auf Reisen rund um den Globus, vereint das Album die Eindrücke von Orten, Begegnungen und Momenten zu einer lebendigen, atmosphärischen Songsammlung. Erstmals setzen die Geschwister verstärkt auf elektronische Elemente, die den charakteristischen Sound des Duos erweitern und gleichzeitig die vertraute emotional-intime Klangwelt bewahren. Im Fokus steht dabei eine spürbare Leichtigkeit und Freude, die sich durch das gesamte Album zieht.

Gesanglich agieren Angus und Julia dabei enger denn je: im Wechsel, im Einklang oder harmonisch verwoben verleihen sie jedem Song zusätzliche Tiefe und Ausdruck. Die aufwendige Produktion unterstützt die erzählerische Kraft der Stücke und hebt die jeweilige Stimmung eindrücklich hervor.

"Karaoke Bar" fängt musikalisch wie lyrisch ein Gefühl ein, das zwischen Nostalgie, Melancholie und Gegenwart schwebt – und öffnet den Hörer:innen ein intensives Tor zu einem bewusst erlebten Moment.

Timeless is a brand-new 10-track compilation featuring rare and unreleased studio recordings from Prince’s legendary vault. This unprecedented album encompasses tracks spanning every phase of Prince’s illustrious career, from 1977 to 2016. The project has been meticulously mastered by Grammy-nominated engineer and producer Chris James, a former Prince engineer whose notable credits include HITnRUN Phase Two, Art Official Age, and Plectrumelectrum. Timeless will be available on CD & black vinyl, providing profound insights into Prince’s creative process and musical evolution.

2026 Repress

The Third Room launches its new curator-led series with Oscar Mulero, one of techno's most uncompromising and influential voices. Through decades of releases, DJ sets and his work with PoleGroup, Mulero has helped shape a sound defined by tension, reduction and depth, leaving a lasting mark on contemporary techno culture. For this first chapter, he brings together artists who reflect that same discipline and sonic clarity. Rather than focusing on solo authorship, Mulero shifts towards dialogue - connecting with producers who operate within a shared language, while bringing their own distinct perspectives to the record. He opens with Sonic Synergy, the only solo track: restrained, dub-influenced and immersive, built on warm low-end and gradual development. The centrepiece of the record follows with Reaction Pair, a collaboration with DVS1. Bringing together two of the scene's most established voices, the track unfolds as a fluid, open construction: a rolling, slightly woobly bassline meets evolving chords that build and dissolve tension in continuous cycles, creating a sense of forward motion without obvious peaks. Seven, with Luigi Tozzi, introduces a more spatial dimension, merging Tozzi's atmospheric depth with Mulero's steady drive. Closing track Between the Stars, with Isabel Soto, leans into a timeless, understated energy - functional without ever becoming forceful. Across all four tracks, the EP remains consistent in tone: spacious, spheric and focused on long-form movement. As the first entry in the series, it sets a clear direction - reduced, hypnotic techno built for longevity. ? 2026 The Third Room A1 Written and Produced by Oscar Mulero | A2 Written and Produced by Oscar Mulero & Zak Khutoretsky | D1 Written and Produced by Oscar Mulero & Luigi Tozzi | B2 Written and Produced by Oscar Mulero & Isabel Soto Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

2026 Repress

DJ Koze unveils a spiritual and surprising journey into rapturous spheres with Wespennest EP. The visionary artist and master of electronic sound, presents his first own release after 2018's global club hit "Pick Up".

"Candidasa" and "Wespennest" are the result of DJ Kozes inspiring stay in a secluded Benedictine monastery on the enchanting island of Sulawesi. Amidst this idyllic setting, he found the perfect environment to unleash his musical vision. He composed all of the music of "Candidasa" while lying on his stomach, in an act of deepest devotion and self-reflection. In doing so, he fed exclusively on so-called heroin kebabs to immerse himself in a trance-like state of creative flow. The result is a soundscape of unimagined depth and beauty that enchants the senses and transports listeners to another dimension by massively increasing the frequency of flicker fusion.

On "Wespennest” the wonderful Sophia Kennedy takes the stage and breathes a new dimension into the music with her impactful lyrics and vocals. With generous dedication, Sophia has provided exclusive excerpts of her yet unreleased songs, giving this track a radiant psychedelic power. The combination of DJ Kozes musical genius and Sophia Kennedy's glorious vocals creates a club track full of wonderment, opening up a mystical rapturous world for listeners. Already an instant classic of German dance music.

With "Candidasa" and "Wespennest" DJ Koze has once again pushed the boundaries of electronic sounds and created a spiritual journey that touches the soul and frees the mind. This EP is the first harbinger of his highly anticipated new album, which will be released in 2024. The time until the release can be wonderfully bridged with the magical album "Hit Parade", which DJ Koze has produced for the British legend Róisín Murphy and on which we can be carried away into the world of musical brilliance.

2026 Repress

Robag Wruhme, working on the material. On the very same piece. And performing two different movements. First, thinking in category Album: who will hear it where? also: mood, position, length. Second, thinking in category Maxisingle: a spinning-tool for the club – another form of another functionality: accelerating the rhythm, lowering the harmonicmelodious, still preserving the nature of the song. And each version should make you HOT for the other!
Nata Alma, a voice loses itself in the infinite, a car brakes, a horse whinnies, the sun scorches relentless. Further, further on, towards the flickering, stoically. Water, flames on the horizon, Fata Morgana, a mirage. »And you might say, we've got no place to go?« - okay? no notokay at all!: Shuffle!
Nata Alma, melancholic Eight-minute-forty. A love song, a wave good-bye: »And you might say, that you need me no more?« sings Sidsel Endresen alongside Bugge Wesseltoft's swells and ebb-aways – metal never sounded so longing; a buzzing swing, a siren call from afar.
Robag Wruhme takes a seat at the organ and plays minor bass notes. He gets up, leaves the room and lays down a dry rock of funk: wooden kick on wooden snare, tight-cut voices, driving hi-hats and shakers, gated synth danglers and percussion loops. Relentless, stoically. »And you might say, that it's over?« – relentless, maybe, but that's how he creates the Further: keep going! dance it off! a new day rising!
And right here. Flip it and keep on moving: Venq Tolep. A summer meadow, grass-stains, a gentle breeze, an early smell of hay. Venq Tolep. Endorphins tickle under the skin. A
percussive spectacle, dance of the insects. Hopping around in flat shoes, the beat is phat and reverberated by a cluster of trees. Stabs on the e-piano set in, picturing the euphoric moment when Loving-feelings walk hand-in-hand with a Hint of Melancholy.
Robag Wruhme, Nata Alma and Venq Tolep - music for dance floors, inside and outside, music for the summer, day and night, and for convertibles on the way there.

The latest in our series of Limited Edition 7x7" Soul Box Sets celebrates the work of Dave Hamilton.

Dave's musical career in Detroit stretched from the 40s into the 80s. He was involved in all black music styles during that period - blues, jazz, and gospel as well as soul music.

A talented songwriter, he wrote or contributed to ten of the fourteen compositions here and produced them all in his studios.

Though his released output was modest, considering the amount of recording he did, the gems in his tape vaults have been surprising and entertaining black music lovers since they were accessed by Ace in 1990.

That purchase came about due to Richard “Gilly” Gilbert’s detective work in discovering that a big covered-up Northern Soul spin at Wigan Casino was actually Dave’s production on “Little Ann” Bridgeforth. The ensuing years have seen soul tracks in all genres, issued on Kent and BGP and we are still discovering great tracks 36 years on. Witness ‘You Got Me Where You Want Me’ by Chico & Buddy, a fabulous funky number from around 1970 that would have been a soul fan’s favourite whenever it was issued; this is its first public appearance.

Funk crosses over to all dance scenes these days and even jazzier tracks like Dave’s own ‘Soul Suite’, a close relation of his coveted ‘Pisces Piece’ will pick up plays now it is on vinyl. Northern Soul lovers have been demanding J T Rhythm’s ‘I Love The Way You Walk’ on a seven, as have Motown connoisseurs with Rita DuShay’s original of ‘All I Need (Steal Away Tonight)’ as covered by Barbara McNair on her 1966 Motown LP.

Original copies exist of the Ravins ‘Your Love Is What I Want’ but unless you have several grand to spare on this fast and furious dancer, our audio-enhanced release is a great substitute; especially with the Kent 45 deleted.

OC Tolbert delivers a tough and menacing Clarence Reid song ‘Along Came A Woman’ which has huge dancefloor potential, like Dave’s own bluesy vocal on his similarly gritty, R&B composition ‘Take Care Of Your Own Business’.

Dave’s accomplishments into the 70s and 80s are admired by modern soul lovers and his ‘Ride The Disco Train’ by the Moderations, hit a perfect groove for progressive clubs of the genre. Both the Felecia Johnson and New Experience tracks thrive on the laid-back atmosphere Dave was able to conjure up in his home studios and the talented singers present his thoughtful songs with panache.

With enhanced audio for both of Little Ann’s uptempo and ballad classics ‘What Should I Do’ / ‘Deep Shadows’ this box set is irresistible as well as being a tribute to the unsung heroes of Detroit Soul music.

Oráculo Records joins forces once again with Unknown Pleasures Records under the banner of “The Black Alliance” to celebrate one of electronic music’s most influential acts: SUICIDE. Widely regarded as pioneers whose radical approach helped lay the foundations of minimal synth and darkwave, Alan Vega and Martin Rev receive a tribute from artists who carried their influence into new territories. Absolute Body Control, Gabi Delgado of DAF, Patrick Codenys and Richard 23 of Front 242, and Dirk Da Davo of The Neon Judgement appear alongside some of the most compelling contemporary projects in the international dark music underground. Spread across two records, this collection of cover versions also features SUICIDE songs revisited by Alan Vega himself with Marc Hurtado, presented on vinyl for the first time. Their presence creates a direct connection between the original voice of SUICIDE and the generations shaped by the duo’s uncompromising vision. An instant classic in spirit and scope, “SUICIDE Pioneers’ Celebration” honours a legacy that continues to resonate across the underground. Produced in a one-off pressing of just 500 copies, this is a collector’s edition to discover, play and treasure for years to come.

Ty Segall, precleared for flight in full rock congress with the band (Ben Boye/Evan Burrows/Mikal Cronin/Emmett Kelly), shifts Chrome. Songs of massive riffs, swung, tightly arrayed lines of fuzz & distortion, twin-guitar attack-and-parry, endopic keyboards kicking, precise & thudding power, a rhythmic core on the march in full BAND energy. The songs are lyrically allusive trips, dark passages in the labyrinth, everything in the air bristling collectively, as minds collide.

2026 Repress

The second chapter of The Third Room's curator-led series is shaped by D.Dan, one of the defining voices of a new generation pushing techno into sharper, more forward-leaning territory. Through his productions, DJ sets and close ties to an emerging network of artists, he has helped shape a sound defined by precision, intensity and subtle experimentation. For his curation, the focus lies on collaboration and alignment. Rather than presenting a wide spectrum, the release draws a tight circle around a shared sound: one defined by contrast and a strong sense of aesthetic cohesion. D.Dan's Bound sets the tone: reduced, warm and controlled, balancing sharp accents with a steady, grounding low-end. On Dynamic, Rene Wise delivers a record's standout moment: a fluid, rolling tool shaped by subtle disruptions and evolving tension. Slither by Connor Wall expands into a more trippy, forward-facing space, while Gensou by Sunju Hargun & DJ MARIA. closes on a fresh, detailed take on acid - understated but effective. Across all four tracks, the release feels tightly unified - less like a compilation, more like a single body of work shaped from a shared sonic language. Contrast plays a central role: between tension and warmth, control and surprise, functionality and detail. Cohesive and focused, the record feels carved from a single aesthetic, where contrast and small, unexpected shifts drive its momentum. Copyright 2026 The Third Room A1 Written and Produced by Theodore Su-Ahn Shin | A2 Written and Produced by Andrew Shobeiri | B1 Written and Produced by Connor Wall | B2 Written and Produced by Sunju Hargun & DJ MARIA. Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

2026 Repress


DJ Koze's 2013 album opus Amygdala has continued to bewitch all who encounter it since its release. Tipped as his own personal Sgt. Pepper, the sublime long-player revealed a fully-realised and personal body of work, complete with a classic songwriting at its core, House in its heart, and veins coursing with psychedelic color. La Duquesa' was the album's dreamy single standout, a journey into deep, tropical ecstasy. XTC' begins in the same spirit, and captures the all the blissful allusions of its name, but its initial gentility belies the deep intensity to come. Floating pads glow with celestial ambience as a kick drum is gradually coaxed into solid form, and the introduction of spoken text begins the second act. Many people are experimenting with the drug Ecstasy,' it says, ...is the drug like the lie and meditation the truth Or am I missing something that could really help me". XTC' then transforms: sweetly imploring tones become demanding, gentle gradients between chords turn hard-edged, and sharp hi-hats cut through the haze. Complete with Koze's signature percussive quirks, it drives towards the track's final pay off: an undeniable, all-consuming, irresistible high. Knee On Belly' recalls Koze at his most tongue-in-cheek and overt, it is bright, bold and literally brassy, using cut-up horns of all shapes and sizes to patchwork together his own unique arrangement. With the highs and mid ranges accounted for, Koze adds in a swollen, thrumming bass line to mix to bring this floor-filler to life. Knee on Belly' recalls a raw, filtered and funky approach to groove, with a nod to disco house and the art of artful sampling, as it orbits between its own neon highs and simmering lows.

*Kissa* is an immersive ambient electronic project crafted by Mathias, drawing inspiration from the serene and evocative atmosphere of Japanese jazz kissa cafés. These intimate spaces, known for their deep reverence for music, serve as the foundation for *Kissa’s* sonic landscape—where warm nostalgia and futuristic minimalism intertwine. Consisting of eight expansive compositions, *Kissa* abandons traditional rhythmic structures, allowing sound itself to guide the listener. Ethereal textures, evolving drones, and subtle harmonic shifts create a meditative experience that blurs the lines between memory and imagination. Each track is a portal—an invitation to lose oneself in sound, to explore the spaces between notes, and to embrace stillness as a form of movement. With *Kissa*, Mathias redefines the boundaries of electronic music, crafting an experience that is at once deeply personal and universally resonant. Whether serving as a soundtrack for introspection or a companion for late-night contemplation, *Kissa* embodies the essence of timeless listening—where music is felt, not just heard.

This year marks the 40th anniversary of one of the true cult classics of the Italo Disco universe: Mike Mareen’s “Love Spy.” Released in 1986, the track sounded strikingly different from much of the dance music around it: futuristic, dramatic, playful and instantly recognisable. It quickly found its way into DJ cases across Europe and became one of the records that would define Mike Mareen’s electronic sound.

But the story actually began under a different name. An early incarnation of the song was called “Batman,” with lyrics inspired by the adventures of the famous comic-book hero and the villains surrounding him. A small number of promotional copies circulated before copyright concerns meant that the concept had to be abandoned. The title and lyrics were rewritten and “Love Spy” was born. The early “Batman” version has since become one of the most fascinating curiosities in Mike Mareen’s catalogue.

Four decades later, we felt an anniversary like this deserved something special.
LOVE SPY 40th Anniversary will therefore arrive in two parts, bringing together some of our favourite producers from today’s Italo, synth and electronic scene.

Part One features brand-new remixes by Luca Dell’Orso, Flemming Dalum, Also Playable Mono and Disco Computer. And enthusiasm was never going to be a problem here. “Love Spy” is not simply an ’80s classic, it remains a genuine DJ favourite, loved by old-school collectors and a new generation of Italo-wave selectors alike.

Alongside four killer new interpretations, we are bringing back the original Badman Mix, plus the highly sought-after “MAKE YOUR OWN MIX” material – rare set of individual elements created for DJs to deconstruct, combine and rebuild “Love Spy” themselves. These samples have become particularly desirable among collectors and make the perfect addition to the first chapter of our anniversary edition.

Four new remixes. Two pieces of history. Forty years of LOVE SPY.

And we are only halfway there.

LOVE SPY 40th Anniversary Part Two, featuring another line-up of major names from our scene arrives in November.

Black Truffle is pleased to present Even Colder Spring, the latest release from the mysterious and wildly prolific Cities Aviv (a.k.a. Wilbert Gavin Mays, who also records as African-American Sound Recordings), a rare appearance from the artist outside his own D.O.T. Audio Arts label. For over a decade, Cities Aviv has twisted hip-hop conventions into the most skewed and splayed forms, layering and lacerating twitching loops, extreme production techniques and his mercurial vocal stylings into hermetic décollage. Across 16 tracks, Even Colder Spring charts Mays’ restlessly experimental approach: what sound like fully formed productions are interrupted suddenly after seconds; interjections of field recordings cue unexpected shifts; details drown under layers of fuzz. His vocal delivery takes in rhythmically intricate rap, barely articulate murmurs and freely melodic song, the latter often with a disorientating lack of connection to the track’s harmonies. The lyrical shifts are as paratactical as the musical movements. Apocalyptic visions of social and cultural uniformity alternate with reflections on mortality, glimpses of everyday life and head-scratching one-liners: ‘Maybe Mars is bougie?’ His reference points are as surprising as ever, the Dante quotes of previous releases joined here by a track named after Henri Bergson’s idea of the élan vital. Australian listeners, in particular, might be especially taken aback to hear ‘Closing Door’ open with the phrase ‘the tyranny of distance’.

While Mays’ work can sometimes be claustrophobically bleak, the productions here are often sparkling, at times touching on the shimmer of private-issue New Age sounds and the more playful end of krautrock. The instrumental ‘Martine Drift’ could almost be a snatch of Cluster’s Zuckerzeit caught through dial-up internet. The distant echoing drums of ‘L_area’ cross Persona’s Som with lo-fi IDM, while closer ‘Final Heaven’ dissolves a cloud of loops across almost seven minutes into ecstatic, rippling distortion. The graphic design, at the artist’s request closely modelled on the format of Corwood Industries, offers as good a clue as any to what awaits the listener on Even Colder Spring: a world at once impossibly opaque and intensely personal.

PYRAMID TRANSMISSIONS are excited to present our next release by one of our favourite artists on the scene, FLECK E.S.C (Franck Collin)

Hailing from FRANCE but resident in TOKYO, FLECK's music is a myriad of Scifi sound design, pulsating funk ridden beats and this release reaches Autechre like intricacy.

He has recorded for many labels such as ELECTRIX, SCIENCE CULT, SHAMELESS TOADY and PYRAMID TRANSMISSIONS among may others.

This is a sonic masterpiece of Electro and IDM!!!!!!

Massage Brain Cult returns with its second Various Artists compilation, available on vinyl and digital. Featuring tracks from p1nkf1re, Lini, Uf0, Lee, Mause, AZARYC and a djtool by Suso Flores. The release offers a fresh sonic flavor—staying true to the label’s reputation for diversity.

Culoe De Song brings ancestral rhythm to his Crosstown Rebels debut EP, ‘Moonhound’.

The Afro house veteran delivers a three-track excursion, featuring remixes from Manoo. One of South Africa’s most storied house exports, Culoe De Song, lands on Crosstown Rebels for the first time with ‘Moonhound’, a three-track EP fusing organic, electronic textures around a minimal core. His take on deep, Afro-house has carried him from a breakout year in 2008 to an acclaimed run of albums via labels including Innervisions, Mule Musiq and his own De Song Music. With a career spanning more than fi fteen years, he has shared line-ups with the likes of Black Coff ee, Seth Troxler, Louie Vega, Carl Craig, Âme, and, in particular, label boss Damian Lazarus, at some of the world’s most renowned festivals and venues. His arrival this August feels like a natural convergence of two paths that have long run in parallel, less like a debut and more like an overdue reunion that channels percussive rhythms into a stripped-back, hypnotic core.

Title track ‘Moonhound’ eases in slowly, layering organic textures over brooding rhythms as whimsical, drifting elements and soft synth lines pull it into a steady ebb and fl ow. ‘The Spiker’ follows, driven by a punchy bassline and animalistic vocal calls and chants, before crisp percussion builds and breaks down into panning melodies for a blissful close. With releases on MoBlack, Classic Music Company and Deeply Rooted, French house mainstay Manoo brings his instinct for groove to ‘The Spiker’, with his ‘Abstrakt Remix’ showcasing a hypnotic rework that stretches the original’s key elements into a tone-setter for the evening ahead. He then doubles up via his ‘Club Remix’, a digital-only addition that trades the ‘Abstrakt’ interpretation’s slow build for echoing synths and syncopated rhythms, bringing a heads-down, functional cut built squarely for the club.

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.

1st repress of the rare UK compilation “In Reggae Time”.

Originally released in 1970, it brings together a series of very rare tracks issued only on 7" singles around 1967 by Ember Records and its sub-labels.

The sound is not just Reggae—it’s only marginally so—offering a vibrant mix of 1960s UK mod, R&B, Ska, and Northern soul.

Limited-edition Picture-disc LP.

Cold, Bold & Together (CBT) CBT was founded in Bellingham, Washington in 1971 by percussionist Tony Gable and musicians Solomon Harris, Keith Hooks and twin brothers TC & Jamar Jenkins. It soon became evident that Bellingham was not a particularly welcoming environment for R&B music, so they moved to Seattle to try their luck and plumb the rich supply of venues, which they successfully did until disbanding in 1978. They spent their early Seattle years playing a combination of covers and originals in clubs, later becoming the "go to" opening act for various nationally known artists, such as Ohio Players, Kool and the Gang and Earth, Wind & Fire. While they were paying their club circuit and opening act dues, they squeezed in recording sessions whenever they could and released their own material, which was well-received and got strong regional airplay. However, because of the feudal nature of the music business at the time, they just couldn't break out, and like a lot of Northwest bands with great potential, they inevitably broke up and went their separate ways. Upon disbanding, they left behind a collection of original recordings at Seattle's legendary Kaye-Smith studios.

Unfortunately for CBT, the studio passed through several owners and at some unknown point in time, one of them did the unforgivable and destroyed the storied studio inventory of two-inch tapes and quarter-inch masters. Unknown to the band, a copy of their masters was smuggled out by their producer who added them to his legacy collection of cloned quarter-inch masters. After several years and many moves, he became concerned about the tendency for magnetic tape to deteriorate over time.

He sent the tapes to a Seattle lab to be restored and digitized, with the hope that perhaps, some day, they might be made available for the listening pleasure of R&B fans. The hoped-for day has finally arrived. Russell Paine and Super Disco Edits has pressed two of the Kaye-Smith CBT tracks: "Go For It", a jazz-influenced instrumental, featuring Kenny G, and "Unity", sung by the group en masse with Tony Gable singing lead. The musicians on these tracks are: Tony Gable, leader, vocals and percussion Harry Alexander, drums Kenny Gorelick (now world-renowned "Kenny G"), sax, flute and horn arrangements Chris Ishi, trumpet Michael Young, Trombone Jamar Jenkins guitar, vocals TC Jenkins bass, vocals 1 Philip Woo, keyboards Footnotes: CBT gave legendary saxophonist Kenny G his start in the music business. Kenny was still in high school when he was recruited to play sax and write horn arrangements. Kenny co-wrote, arranged and played sax and flute on the instrumental "Go For It." He rips a smoking tenor sax solo in the middle, which showcases his already masterful technique and solidifies his R&B bona fides. He went on to have a spectacular career recording for Clive Davis and Arista Records. Before his untimely passing in 2016, Tony Gable went on to found contemporary Jazz group, "Tony Gable and 206" (206 being Seattle's then only area code). With songwriting, performance and production help from Kenny G.

2026 Repress
Temudo - Meteora (FUSE06) by Noah Hocker

A leader of the Portuguese wave in techno co-founding Hayes Collective while boasting acclaimed releases on Klockworks, Blueprint, and Soma, Temudo grabs the reins to take club music back to its days of audacity and risk taking. A more than promising up-and-comer turned modern reference, Temudo defends his reputation with a release showcasing depth in his various sonic universes and a deep understanding of his music's history. For its seventh release, Temudo's 'Meteora' is a logical next step for the club's direction - a sweet spot between dancefloor efficiency and enduring aesthetic.

Combining the intrigue of mental soundscapes with the reliability of imposing rhythm, 'Meteora' finds itself collected, expressing effect through restraint. The title track, claiming the EP's A1, is just that - a force of interweaving sound design and powerful micro transitions. Some believe the best techno records are able to express emotion and attitude despite its dissonant and machinelike nature; if that's the case then Temudo has mastered the craft. 'When I Grow Up', however, puts the focus back on the body. What sounds like warbling tape modulation over a percussive lead makes this record an addictively delirious ride from start to finish, fitting in with the track before while shifting to different priorities. Proving his versatility, 'Vrthng' at first seems reminiscent of the minimal Berlin style with a higher pace, but quickly progresses into something intensely euphoric. With experience and measure, an out of the box approach can really pay off, and the added emotion in 'Vrthng' is certainly a turning point in the EP. This mindset is clearly carried over in the project's conclusion : 'It's Always Past'. A surprising use of harmony and storytelling, this final chapter ends with Temudo sealing his style with confidence. The track is mystified by its chords, ending 'Meteora' with a question mark that leaves us in anticipation for what Temudo dares to do next.

A cassette-only collection of scratchy one-away dubplates and 45s from the vaults of Jah Massagan Sound, featuring plates cut at the studios of legendary producers and engineers such as King Tubby, Lee Perry, JoJo Hoo Kim, and Joe Gibbs among others during the peak of the roots sound in the mid 1970s through to the early 1980s.

Beginning in Leyton in 1972, owner-operator Lloyd alongside childhood friend and amp builder Tony Mass were part of a wave of reggae soundsystems formed in London and across the UK immediately after the Windrush generation. Focused on preserving and promoting the authentic Jamaican roots, Jah Massagan has remained a small but steadfast cornerstone in the East London scene more than 50 years later. Eljay Mass, the son of owner Lloyd, takes the reins for this cassette-only document, as the torch is passed on inter-generationally to continue the sound’s work.

Mike D will release his debut album Thank You on August 28, marking the first full length offering of new music from a Beastie Boys alum since 2011. Tracing its origins back to a series of zero-pressure, experimental recording sessions at Mike’s home studio, the album features a dozen servings of sonically inventive post-electronic grooves and hypnotic hooks that find Mike D’s unmistakable voice leading the listener through an aural playground that defies categorization. Pressed on purple vinyl.

Mike D will release his debut album Thank You on August 28, marking the first full length offering of new music from a Beastie Boys alum since 2011. Tracing its origins back to a series of zero-pressure, experimental recording sessions at Mike’s home studio, the album features a dozen servings of sonically inventive post-electronic grooves and hypnotic hooks that find Mike D’s unmistakable voice leading the listener through an aural playground that defies categorization. Pressed on clear vinyl.

When Khalab and Baba Sissoko first recorded together in 2015, they produced something definitive: a record where electronics and griot tradition achieved genuine synthesis rather than polite cohabitation.

Not layered genres maintaining separate identities, but two forms evolving into something singular. "Tata" took Track of the Year at the 2016 Gilles Peterson Worldwide Awards, found champions in Laurent Garnier, Ben UFO, Matthew Dear, Bonobo, and many others — but more significantly, it established a working method built to last.

Eleven years on, they return with Foli Bah on Hyperjazz Records. Theirs is a relationship built on trust. Khalab constructs structures that don't develop linearly but spiral inward — loops that reveal something new with each rotation, tightening until the listener stops resisting and surrenders. Sonic architectures that don't expand outward but deepen over time, layering toward saturation. Baba Sissoko inhabits these structures with instruments from Malian tradition, not as ornamentation but as load-bearing elements: the tradition becomes structure, not decoration. Electronics and griot practice stop negotiating terms and start speaking the same language.

2026 Repress

Autumn of 2022 marked 20 years since the initial release of Metro Area's first and only album, Metro Area. Environ had already remastered and re-released this essential LP for its 15th anniversary. So this time around, we're doing something a bit different.

To celebrate two decades of Metro Area, Environ has partnered with renowned mastering engineer Matt Colton (Metropolis Studios) to remaster and recut the first four Metro Area 12"s: Metro Area, Metro Area 2, Metro Area 3 and Metro Area 4. Unlike the album reissue, these records include the original, extended 12" versions of all songs, including some which have never been re-released.

Metro Area is the duo's first 12" EP, originally released in 1999.

2025 Repress

Cirkle makes a striking debut with the EP "Sonic Surge" on Sublunar, curated by Sciahri, delivering a truly memorable release. Hailing from Greece and affiliated with labels such asSk11, Cirkle unveils his interpretation of timeless techno in this EP, characterized by a distinctive and deeply personal sound.

Opening with the sharp and compelling "Sonic Surge," the record quickly captivates listeners before transitioning into "Echoes Of Eternity," a hypnotic journey driven by an unstoppable groove. On the B-side, "Subsonic" commands attention with its irresistible and powerful rhythm, leading up to the EP's epic conclusion, "In The End There Is a Hope." This minimal yet profound track leaves an indelible mark with its unforgettable sonic textures.

Kisah Pasar Baru: The Modern Sound of 1950s Indonesia

When Indonesia gained its independence from the Dutch colonial government in 1945, politicians and soldiers weren’t the only ones playing a major role in building the sense of national identity.

Also working on the nationalist front were merchants and traders of phonograph records, who prior to the country’s independence served as local agents for foreign labels like Odeon and Beka. In Batavia, one of these traders were Tio Tek Hong, distributor of the international label Odeon and the other figure was Soejoso Soekarso, who also served in the Indonesian Military as an Air Force Marshall.

Irama Records, the music label he founded in 1951, was first attempt to “nationalize” the means of production of “indigenous music” from both foreign labels and intermediaries like Tio.

Soejoso stood at the intersection of music, business, and nationalism. He was the vanguard in the process of popularizing of a new breed of “national” music, especially the type he showcased in the compilation Kisah Pasar Baru: The Modern Sound of 1950s Indonesia, released in 1958.

Yet, the idea of an indigenous music championed by Soejoso was in fact the amalgamation of a myriad of cosmopolitan strands. As an air force officer, Soejoso spent some of his time playing in the Hawaiian band Lieve Souvenier in Semarang before relocating to Jakarta and started jamming with the band Elshinta Hawaiian Senior.

In addition to Hawaiian music, Soejoso was a versatile musician who also had the chops for jazz, a musical genre wildly popular in the 1940s and early 1950s Indonesia. And it was jazz that he first recorded for his Irama Records label.

One night in 1951, he squeezed pianist Nick Mamahit, bassist Max van Dalm, drummer Dirk van der Capellen, and guitarist Dick Abel into a 2×3-meter studio on Jl. H. Agus Salim, Central Jakarta, to record the first local jazz album of the post-independence era.

Kisah Pasar Baru is a compilation of hybrid music that Soejoso and his coterie of musicians championed in the early 1950s, a mix of Hawaiian, Keroncong and Jazz and it became a hit soon after being release.

One of the best compositions on this album, “Pajung Fantasi,” composed by the legendary composer Ismail Marzuki, is essentially built from Bing Slamet’s baritone—Indonesia’s equivalent of Bing Crosby--and the distinctive Hawaiian-styled steel guitar. The most famous song on the album, “Sabda Alam,” also written by Ismail Marzuki, follows the same pattern, its steel-guitar works now backing Theresa Zen’s hauntingly ethereal vocals.

Kisah Pasar Baru was never designed to be a long-playing record, and its presence on the market was to capitalize on a new trend in the recording industry. The album is a greatest-hits compilation, with songs in this album previously circulating individually on 78-rpm discs—a format that was gradually abandoned following the invention of the 7-inch single and the 12-inch long-play vinyl.

This is the first time this monumental record is being reissued for the international market outside of Indonesia.

Elypsia Records presents A Future Tribe, the new album from Italian electronic music producers CEM3340 & 2030. Rooted in the formative language of electro and early techno, A Future Tribe channels the past through a lens very much focused on the future. Across the album, analogue warmth, machine-driven funk, synthetic textures and futuristic atmospheres come together in a sound that channels the pioneering spirit of early Detroit while remaining unmistakably connected to the present. For CEM3340 and 2030, machines are not simply tools, they are central to the creative process. Both producers have spent years immersed in the culture of electronic hardware. They've been carefully building and refining their own approach to production through an extensive collection of synthesisers, drum machines, sequencers and studio equipment. Based in Bari, southern Italy, their work reflects a deep fascination with the physicality of electronic music: oscillators, circuitry, voltage, rhythm and the unpredictable character of machines programmed and played with a human touch. That philosophy is deeply embedded in A Future Tribe. Rather than treating the early years of techno as a museum piece, CEM3340 & 2030 approach its foundational ideas as a living language - one that can be stripped back, re-translated and taken somewhere new. The influence of Detroit's first generation of electronic innovators is unmistakable. There are echoes of the futuristic electro and techno pioneered by artists including Juan Atkins and his contemporaries, where funk, science fiction, machines and the possibilities of tomorrow became part of a new musical vocabulary. It is an approach that has already earned the duo recognition within that lineage. Their previous Machines Awake EP, released through Atkins' Metroplex Records, was described as paying homage to the classic foundations of the genre while pushing them into new territory. Juan himself gave the release his sonic approval. But A Future Tribe is not an exercise in retro-futurism for its own sake. The album comes from two producers who understand the history, have the hardware to explore it and, crucially, are interested in what happens when those influences are given space to evolve. The result is electronic music that is full of funk, groove and a kind of nostalgia that is pure and intentional without being a pastiche. Together, they make music that is rooted in one simple truth: machines can't come to life without human creativity.

Truths and secrets often reveal themselves at night, under the freedom of shadowy darkness, away from prying eyes. In creating Given to the Night, sisters Valentine and Clementine Nixon have crafted a world that drifts through the in-between: between dream and reality, between day and night and the undefined, and ultimately a world that embraces the discomfort of being untethered. A process that follows simplicity and intuition rather than pre-determined narratives. “We recorded songs as they appeared, which sometimes felt like catching light. Before we realised it we had a record”, the duo explain.

While making the record Valentine and Clementine gently pushed away from the world- deleted social media, retreated into the trees of their native New Zealand - and only invited a couple of people in during the recording process. From that space, the album came together in an eerily easeful way.

There is a dream-like drift and sonic timelessness to the the record, as reflected in its nocturnal title, which can be read in two ways:

“Being taken by, or being inclined towards nighttime, preferring its blurry cloak of shadows to the harsh light of day; or giving oneself up to night, in sacrifice, letting go of fear and melting into the darkness.”

Written during a time of personal transition there was “a sense of finding the light in the shadow” they add. Guitar lines float, synth lines entwine, tapes hiss and vocals stream creating a kaleidoscopic montage of transient memories and emotions. A spectrum of feelings arise - isolation and joy, insomnia and manic highs, confusion and fleeting clarity, grief and healings. In the record, these feelings all merge and fade into one another in a nonlinear manner, as life tends to do; creating something deeply human that simultaneously gestures towards the transcendental.

Bill Withers was a modest, gentle, and yet towering musical figure responsible for some of the most important, universally known soul hits ever written. It’s no wonder that “Just the Two of Us” and “Ain’t No Sunshine” won him two Grammy awards and undoubtedly played a huge role in getting him inducted into both the Songwriters and Rock and Roll Hall of Fame.

Naked & Warm is Withers' fifth studio album, released in 1976. A year earlier, the Sussex label—home to Bill's first four landmark albums—ceased operations. Withers then signed with the mighty Columbia Records, which would remain his home until the end of his recording career. While Naked & Warm retains Bill's unique, earthy approach to soul that made him Sussex's biggest star, it's clear that musically too, he was in transition; the first half of the album is full of synthesized jazz-funk vamps, while "City Of The Angels" is an almost 11 minutes long cosmic funk excursion combining biting Rhodes chords with swirling synth pads and Dorothy Ashby's spiritual harp work. All in all, Naked & Warm might be one of Bill's most underrated records, simply because his previous work for Sussex was just that impactful.

Naked & Warm is available as a 50th anniversary edition of 1500 individually numbered copies on blue vinyl and includes a 4-page booklet featuring lyrics and new liner notes written by Marcia Withers.

Consummate selector DJ Sundae returns to Efficient Space with Nothing Ever Was, an immaculate compendium of phantom independent melancholia spanning '60s/'70s village green folk, outsider shoegaze and new millennium domestic pop. Each recording an emotional exorcism, Sundae breathes oxygen into music that was barely there in its own time, made in quiet places and crawl spaces, shared only with a precious few via private presses, hobby labels and now-decaying CD-Rs.

Free of any prescribed epoch, continent, scene or rarity, Noughties homemade indie pop opens both sides with the 4-track wonders of The Motifs and Betelmire, unlinked contemporaries finding their place alongside Andrew Jay's Crazy Horse rust, the regional-garage adolescence of Pauline Scribner and the anaesthetised Mancunian guitar-poetry of the late Quigley.

The remaining coordinates zigzag between the UK and US. Folk wayfarers John Strang & Valentine Lewis Lloyd, Virgin Insanity, Kusudo & Worth and Penny Wager's spartan Garden of Eden acoustica find their mirror in Empress and Slumber's close-quarters indie pangs. Chicago power pop fixture Phil Angotti is caught at his most tender, while Teri Rini takes the final bow with her universe-stopping hotel lounge torch song.

A deeper, more personal exploration of Sky Girl's sentimental songwriting, Sundae found himself amassing a cache of tracks too undeniable to remain confined to his anonymous mixtapes for TTT, P.A.M. and Good Morning Tapes, or bi-monthly hour on NTS Radio. Again his emotional sorcery draws together an unlikely cast, their unwritten narrative assembled from fragmented memories of past lives left behind by future horse trainers, ketamine therapists and Fab Four cover band careerists.

With not a second squandered across 1LP, it took a village to bring this new companion into being, with David Bergot's forensic audio restoration, dreamlike imagery from Matthieu Crozier, Ivan Liechti's elegant design and a perceptive foreword by kindred spirit Jessica Pratt.

Hey! Mein Name ist Terry Cole, und ich habe das Privileg, ein wunderbares unabhängiges Plattenlabel namens Colemine Records in Loveland, Ohio, zu betreiben. Wir machen das schon seit fast 20 Jahren, und wir haben das Glück, unser Label direkt über unserem ebenso wunderbaren Plattenladen namens Plaid Room Records zu betreiben. Im März 2020, als die Realität einer globalen Pandemie einsetzte, waren wir uns nicht sicher, wie es mit unserem Veröffentlichungsplan weitergehen sollte. Alles kam quasi sofort zum Stillstand. Aber nach ein paar Wochen des Brainstormings beschlossen wir, dass wir - obwohl unser Plan für physische Veröffentlichungen völlig auf den Kopf gestellt worden war - jeden Donnerstag abends eine neue digitale Single veröffentlichen würden, bis wir den normalen Betrieb wieder aufnehmen konnten. Wir nannten die Kampagne ,Brighter Days Ahead", denn bei Colemine versuchen wir, immer das Positive zu sehen, wann immer es geht. Also haben wir den größten Teil des Jahres 2020 lang jeden Donnerstag digitale Singles veröffentlicht; dazu gab es virtuelle Listening-Partys und DJ-Sets auf YouTube. Das hat ziemlich viel Spaß gemacht. All diese Songs gipfelten in einem 2-LP-Set, das wir schließlich 2021 in physischer Form veröffentlicht haben. Und obwohl wir hoffen, dass so etwas wie eine globale Pandemie nie wieder passiert, musste ich zugeben, dass ich einen Weg finden wollte, die ,Brighter Days Ahead"-Kampagne zu einer Art dauerhaftem Projekt für uns zu machen. Während ich das hier schreibe, ist es das Jahr 2026 - offensichtlich habe ich also ein paar Jahre gebraucht, um diese Idee zu entwickeln, aber wir sind endlich am Ziel angekommen und das fühlt sich verdammt gut an. Die Idee ist ziemlich einfach: Der erste Band von ,Brighter Days Ahead" verfolgte einen rückblickenden Ansatz _ eine Zusammenstellung dessen, was wir bereits veröffentlicht hatten _ und dieses Mal verfolgen wir einen vorausschauenden Ansatz. Was du in deinen Händen hältst, ist ein Vorgeschmack auf das, was noch kommen wird. Diese Platte ist eine Kristallkugel, die tief in die musikalische Zukunft des Jahres 2027 blickt und dir einen kleinen Vorgeschmack darauf gibt, worauf du dich aus dem Colemine-Universum freuen kannst. Und wisst ihr was? Dieses Stück Plastik, das ihr in euren Händen haltet, ist die einzige Möglichkeit, es zu hören. Diese Songs sind noch nicht digital erhältlich. Einige davon sind Rohmischungen. Manche sind so brandneu, dass die Songtitel noch nicht einmal endgültig feststehen. Also reißt die Schutzfolie ab und schnallt euch an - ihr seid dabei, eine Zeitreise in die Zukunft zu unternehmen, ganz ohne Fluxkompensator. - TERRY COLE (Inhaber / Betreiber Colemine Records)

7–Early Years–79 was The Fall's first comp ever. Originally released on Step-Forward in 1981, the LP compiles the group's first four singles recorded for the label between 1977 and 1979 – Bingo-Master's Break-Out, It's The New Thing, Rowche Rumble and Fiery Jack – none of which appeared on any of the band's studio albums. (Also included is "Dice Man" from 1979's Dragnet.) Taken together, these 7-inches are The Fall as they initially emerged from the primordial soup of '77 Manchester, pushing out from founder Mark E. Smith's poetry-collective origins into the early punk scene.

Right from the first track, "Repetition," Smith and crew's working-class art punk is in full effect. His obtuse lyrical brilliance and inimitable vocal delivery ride atop the band's ringing atonal guitar, looping basslines and propulsive drumming – complemented by wheezy combo organ tones. The tracks from each 7-inch are presented here in reverse chronological order. The Fall's fierce contrarianism defines the early UK punk sound and, at the same time, sounds nothing like any of their contemporaries.

The revolving cast of band members includes Martin Bramah, Una Baines and Karl Burns as well as Marc Riley, Craig Scanlon and Stephen Hanley who would remain in The Fall's classic '80s lineups. Many of their best-known songs are featured here – from "Psycho Mafia" and "Rowche Rumble" to the Mayo Thompson-produced "Fiery Jack."

Superior Viaduct's edition is the first time that 77–Early Years–79 has been reissued on vinyl. Includes liner notes by Stephen Malkmus.

Terramar is the confluence of Causa Sui and SoCal guitar genius Isaiah Mitchell. Recorded during a week-long immersion in the El Paraiso studio in Odense, Denmark, the group manifests deep currents of psychedelia and kosmische, riding them into a heavy, uncharted swell of sonic exploration.


On the group's self-titled debut album, Isaiah Mitchell – best known for expansive, high-powered guitar solos in Earthless – brings previously unrecognized sides of his musical personality to the surface. And what better assemblage for this endeavor than the El Paraiso Records crew – known for their genre-defying deep dives that explore krautrock, spiritual jazz and even electronic minimalism? The result is exactly what one could have hoped for in a trans-atlantic session like this: a collaboration where each party reveals new angles in the other's musicianship. A joint venture that manages to bring something new to light by paying homage to traditions of the past: Californian psychedelia, German kosmische and Scandinavian commune rock.


The group flies high on tracks such as ”Swell” and the scorching ”Melted Mountain”, but pushes into deeper experimental territory on ”Ritual De Fantasmas”, ”Caterpillar” and ”Borrego”, weaving synthesizers and studio manipulation into the fabric of their sound. Terramar is a true psychedelic delight.

Terramar is the confluence of Causa Sui and SoCal guitar genius Isaiah Mitchell. Recorded during a week-long immersion in the El Paraiso studio in Odense, Denmark, the group manifests deep currents of psychedelia and kosmische, riding them into a heavy, uncharted swell of sonic exploration.


On the group's self-titled debut album, Isaiah Mitchell – best known for expansive, high-powered guitar solos in Earthless – brings previously unrecognized sides of his musical personality to the surface. And what better assemblage for this endeavor than the El Paraiso Records crew – known for their genre-defying deep dives that explore krautrock, spiritual jazz and even electronic minimalism? The result is exactly what one could have hoped for in a trans-atlantic session like this: a collaboration where each party reveals new angles in the other's musicianship. A joint venture that manages to bring something new to light by paying homage to traditions of the past: Californian psychedelia, German kosmische and Scandinavian commune rock.


The group flies high on tracks such as ”Swell” and the scorching ”Melted Mountain”, but pushes into deeper experimental territory on ”Ritual De Fantasmas”, ”Caterpillar” and ”Borrego”, weaving synthesizers and studio manipulation into the fabric of their sound. Terramar is a true psychedelic delight.

Released at a pivotal moment in Opeth’s ascent, Deliverance offers a snapshot of a band refusing to stand still.

Emerging in the wake of the breakthrough success of Blackwater Park, and produced in tandem with Steven Wilson, their sixth studio album boasts unapologetic heaviness, immersive songcraft, and intoxicating atmospheres. Whilst many contemporaries relied on tried and tested formulations to recreate and restructure, Opeth demonstrated true determination in ambition and sonic exploration.

Now, even after two decades Deliverance continues to hold reverence as a true jewel in the crown of modern progressive metal. This new reissue offers a fresh opportunity to revisit a record whose power, innovation and enduring legacy remain as impactful today as when it first arrived.

TM Shuffle teams up with Konstantin Kost to deliver a pair of deep, meticulously crafted tracks designed to transport the listener. Built on sprawling echoes, immersive reverbs, and subtle vocal textures, the duo weaves an ethereal sonic journey that resonates just as powerfully in the intimacy of your living room as it does on a packed dancefloor. On remix duties, Brenno reworks the original samples into a weightier, club-focused weapon. Stripping back the atmosphere in favor of driving dub house sensibilities, he pairs classic drum machine rhythms with crisp, dry dub aesthetics, allowing listeners to sink completely into the duo's heavy basslines. Following TM Shuffle's stellar remix on our fifth release, we are thrilled to welcome him back alongside Konstantin Kost for a release that demands your full attention.