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As Tele Novella, Chronis (who performs in the beloved and rekindled indie pop band Voxtrot) and Ribbons (who previously performed in the long-running “Victorian punk” project Agent Ribbons) have spent their past two albums creating "Medieval outsider country" on 2016’s House Of Souls and 2021’s Merlynn Belle. Poet’s Tooth – the band’s second album for Kill Rock Stars – steers the duo’s whimsical western-tinted quality into fascinating new directions: cinematic-pop balladry on the autoharp-tinged opener “Young & Free,” gently clip-clopping Americana-folk on “Hard-Hearted Way,” and bass-driven funk on the wry “Eggs In One Basket.” With help from producer Danny Reisch, Tele Novella have crafted their most genre-rich, poetic, and sincere album yet.

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

Heather Maloney’s new album, Exploding Star was never intended to be released. Written after the death of her father, the songs were the most vulnerable body of work she had ever created - meant and written only for her. The idea of releasing an album went against her instincts to keep this art close. Luckily for us, her family convinced her otherwise. Maloney was able to track for 2 days in her childhood home - recording songs, backing vocals, the crickets in the yard and even percussion played directly on the walls and floors of the house itself. Maloney also played her father’s guitar and a keyboard that she had since she was a child. The result is raw and exquisitely personal, a collection of twelve songs urgently written at the time to help ease the “greatest heartbreak” of Maloney’s life but are thankfully and transcendentally now ours as well.

Produced by Dennis Brown and Ranking Joe

On Hardcore, James Mapley-Brittle (GRRL) and Nick Sanborn (Made of Oak), meld their love of late-night club music to make mind-bending high-energy dance music. GRRL is one of the brightest emerging stars in the underground arts space and a regular collaborator with PC Music, NTS, and more; Sanborn is better known as one half of the Grammy-nominated electronic pop duo Sylvan Esso. First sparked during DJ sets in North Carolina basements, the duo's unique creative chemistry has grown exponentially since the 2022 release of their debut EP, Inertia. GRRL x Made of Oak's glitched-out sounds have been featured on Adult Swim, Fortnite, and with their own sample pack on Splice. Finding new fans in the likes of Björk, Arca, AG Cook, Porter Robinson, Barker and DJs across the world, GRRL x Made of Oak is an exhilarating experience that will shake the speakers and get any after-hours dance floor moving.

Label boss Bruno brings us a love story on the dancefloor with the HL002.

Who hasn’t fallen in love one night? Side A is perfect for the club, while Side B is made for those endless afterhours when all we want is to lose ourselves completely with that special someone.

List of Demands, Damon Locks" first foray into creating an entire album from spoken and text-based work, finds the Chicago-based musician and educator collecting cultural abstractions and reorganizing them into a firm truth. The album lays out a vision of Black liberation and transmits it outward as a song cycle of bite-sized MF DOOM-meets-Nikki Giovanni rhythm experiments. The sample-based constructions are steeped in a lifetime of not only keen cultural observation, but direct communal participation in the culture. Locks" decades-long resume connects the dots between experimental improvisation, sample based hip hop, punk, and poetry - each done at the highest level and with a list of collaborators that could spin the head of even the most jaded listener. And that seems to be the point. To jump-start the entire personality spectrum into action. Ecstatic positivity examined via his nuanced grasp of reality, all working toward that ever-evasive concept of what could be.

Legendary House don Harry Romero joins Rekids for the first time with the ‘Nice To Meet You’ EP comprising two massive tracks with classic NY House DNA with the sort of modern twist Romero’s become synonymous with throughout his two-decade-plus career. The Bambossa Records founder now lands on Radio Slave’s flagship label following an impressive 2024, which featured releases on Faith, Nu-Groove, and Defected.

After his appearance on Rekids’ podcast series in August, House hero Harry Romero starts the label’s 2025 with the ‘Nice To Meet You’ EP. First up is the title track, a uniquely hypnotic cut with a bold kazoo melody and raw, club-ready low-end that shines on the breakdowns and high-impact drops. ‘Danny’s Groove’ is next, a track with real Romero energy, its rhythm carefully layered with an organic drum shuffle at the centre, an ear-catching whistle melody in the back, and plenty of synth hits in between - the ‘Nice To Meet You’ EP is a masterclass in building and releasing energy on the dancefloor.

Radio Slave’s Rekids imprint was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Hilit Kolet, William Kiss, Bushwacka, Mathias Kaden, Katerina, Sean Johnston, and many more.

Embark on a timeless musical journey: "Overture", one of the most iconic works from the golden era of progressive trance, is making a grand return.

Released in 1999, this Dutch masterpiece quickly established itself as a quintessential classic, starting in Belgium before taking dance floors across the globe by storm. A resounding success, played not only by club and trance DJs but also by those with a broader musical range, "Overture" is a track with a unique aura. Over 25 years after its release, it continues to electrify retro parties and remains an elegant, timeless standard.

To celebrate this legendary track, we are proud to present a special reissue, elevated by an exceptional remix from the talented Maxim Lany, the mind behind the iconic hit "Renaissance". The Belgian DJ and producer, renowned for reimagining classics with his modern touch, delivers a 2025 version that will resonate with both nostalgic fans and a new generation of listeners.

Maxim Lany shares:

"Reworking this epic classic has been an exciting creative journey. Inspired by the depth of the vocals and the power of the original strings, I set out to transform this track into a version worthy of 2025's dance floors while staying true to its timeless essence."

This exclusive vinyl release is a must-have for collectors, progressive trance enthusiasts, and DJs seeking a centerpiece for their collection. And as always, the Serious Beats touch ensures the original has been fully remastered to deliver an incredible sound, especially for vinyl purists.

Don't miss this chance to relive history while looking to the future. Act fast before it's too late!

Taking our time has become a sort of ESP modus operandi, often proving that when variables are left to cook long enough—relationships, styles, politics, moments in culture—we may collectively yield a more considered result. Once in a 'Blue Moon', we set sights on a record that conducts some strange voodoo, some rare combination of elements that commands our entire being. Entering our atmosphere with a concise 6-track debut, dub technician Brendon Moeller has brought us exactly that. Although we’ve long been admirers Brendon’s work, separated by only a few degrees—he and ESP’s Lovefingers are the same age and shared a decade of salad days in New York City—it took another decade before enough courage was mustered to suggest we actually work together. Our reticence has seen Brendon’s aesthetic and palette evolve over the years, and the label has simultaneously sculpted a tone of its own, but now we’re more than proud to finally marry his highly refined output with our, let’s say, “deliberate” appetite. 'Blue Moon' touches everywhere Brendon has been as an artist—from the obtuse corners of ambient to IDM, dub techno to liquid drones and bass—yet the vocabulary is honed and succinct, relying on a very intentional handful of expressions. This is almost an exercise in restraint, all 6 tracks are delivered from a disciplined and committed point-of-view, but what we find most captivating is the exploration that this allows in terms of depth, texture, fluidity and pacing. There is a complexity hidden in plain sight that begs to be studied, a comfort that allows us to slip inside like a warm bath, an addictive tingling sensation that we must prolong indefinitely. Even as we write this testimonial, the album is going on a fourth repeat and we languish the intervening silence between tracks. This is being under the spell of Brendon’s 'Blue Moon'.

YSE Saint Laur'Ant returns with Saudade, an EP that digs deep into groove-rich territories, effortlessly blending genres and inspirations. Side A opens with an intriguing cut that merges gospel flair with ESG-inspired rhythms, driven by raw beats and a bassline that hooks instantly.

Following up is Special, where YSE’s long-time collaborator adds soft, spacey vocals over a supremely laid-back groove, creating a floating, heady vibe. Flipping to Side B, New York Boys offers a curious, spaced-out pulse with a touch of big-city grit, setting up the EP's final track, Gone Fighting. This midtempo closer stands out with an infectious Slavic sample infusion that rounds off Saudade on a note that's both groovy and reflective.

After the worldwide success of Toribio's "Bring Dat Jazz" 12", selling over 1K units worldwide - the mainstay NYC producer returns with another record on his own BDA Imprint (in collaboration with A-Trak and Chromeo's label Juliet) for a special 12" with a Crackzat remix.
"Daylight" is a warm, uplifting deep house jam with skippy beats, warm rhodes, bass and percussion. Vocals come from Toribio's sister Sharin
with an uplifting message referencing classic 90s house lyricism.
Originally released digitally in 2024, the raw humility of that song won the hearts of listeners the world over, with nods from Resident Advisor and Spotify's coveted Pollen playlist.

Coming in next on the 12", the always on Crackazat turns up the musicality even further, with cascading pianos and strings that anchor the emotion of "Daylight", with a sly bassline nod to Speed Garage sounds. Another hit from Bristol's masterful jazz-house expert.
Also included on the 12" is Toribio's stripped down, deep-in the groove Alternate Mix.

After a first record with techno legends Ben Sims, Mark Broom, DJ Deeon, Seclusion returns for the second release of the year with a fresh current techno package.

An EP from the Irish producer Cult (Molekul / Aktivv) and various remixes by Elyas (Seclusion), Isaiah (Frenzy) & Specific Objects (Twice Infinity)

In a continued disruption to the airwaves following releases from Bondo and Monde UFO, Quindi returns to the Californian noise rock scene-not-scene to dig on the gnarled riffs of Expose. On their new release, the LA outfit double-down on a unique blend of bloated guitar fuzz and grimy analogue synths, and come out with a curiously cosmic kind of kick-ass.
If there was a dreamy, sun-bleached quality to Bondo and Monde UFO, their label mates Expose sound more wrought from sweat-drenched jam sessions under halogen strip lights in grease-stained garages. But the guttural quality of their blown-out guitar tone is matched for vibrancy by the dexterity of their playing, bringing angular free jazz to post hardcore and sludge rock, capped off with the unearthly sonic possibilities of flamboyant synthesis.
This dual-layered wall of sound lends extra weight to the likes of shit-kicking 'Speed Dial', which thunders like a kosmische juggernaut with amped up leads and a dead-eyed vocal condensed into a visceral minute, all with enough time for a dramatic breakdown, synth eruption and a final thrust. Similarly scooped out of the trash compactor, 'Description' rides for longer with one foot pressed firmly on the fuzz pedal, letting the electronics squeal around the punked-up rush of the guitars.
But Expose are not a one-dimensional band constantly thrashing it out. By contrast, 'The Constant' hits a crushing emotional note in its more structured push and pull between delicacy and heaviness, hitting bittersweet notes along the way throughout the peaks and troughs of the arrangement. 'Self Terror' washes languid, discordant guitar strum into swirling FX accompanied by sax from Monde UFO's Ray Monde.
Smart as a whip, sharp as a tack and boiling over with an untameable urgency, Expose make their presence felt in brilliant, bruising form on this particularly fierce addition to the Quindi catalogue.

*press Release From David Katz*

The Hardest Working Reggae Band In Southern England, Dubheart Is On A Mission To Spread Messages Of Peace, Love, Unity And Resistance Through A Heady Stew Of Contemporary Roots Reggae, Delivered On Live Instruments With A Hefty Dose Of Dub In The Mix. Cool Under Pressure, Their Latest Offering, Is The Band's Most Compelling Set To Date, A 'showcase'-style Album Where Every Vocal Track Is Followed By Its Dub Counterpart, And The Vital Contribution Of The Brassica Horns—from Rising London Ska Band Chainska Brassica—is Another Intriguing Element That Makes This Album Tougher Than The Rest.

Drawing On The Foundations Laid By Jamaican Stalwarts Such As Burning Spear, Dennis Brown And Culture, Dub Pioneers Like Scientist And Jah Shaka, Plus Newer Vanguards Such As Tarrus Riley, Grounation And Conscious Sounds, Dubheart Has Crafted A Distinctly Appealing Style That Is Very Much Their Own, Based On The Organic Presentation Of Their Musical Vision. Indeed, This Fully Self-contained Five-piece Is Firmly Engrained In The Neo-roots Movement Of The Present, With A Sound That Faces Ever Forwards.

The South Coast-based Band Was First Formed Back In 1999, And Slowly Built A Following Through Their Intense Live Performances, Which Always Harnessed A Live Dub Element. Their First Ep, the Solid Foundation Rhythm,' Issued On Their Own Karnatone Label In 2011 And Featuring Dub Mixes By Russ D Of The Disciples, Became A Regular Part Of Jah Shaka's Live Playlists. It Was Followed By The 7' 45, we Chant,' Featuring The Band's Charismatic Bristol-based Lead Singer, Tenja (who Originally Hails From France), The Track Becoming An Underground Anthem In Japan (via Rob Smith, Aka Rsd). Dubheart's First Album, Mental Slavery, Was Released In 2013, A Momentous Year That Also Saw The Band Win The European Reggae Contest Staged By Rototom Sunsplash, Leading To A European Tour With Festival Appearances At Summerjam (germany), Reggae Sun Ska (france), Overjam (slovenia), Sudoweste (portugal), United Islands (czech Republic) And The Sardinia Reggae Festival, As Well As Rototom In Spain. Then, In 2015, Karnatone Issued The Dub Companion To Mental Slavery, Mixed Down In A Heavy Dubwise Fashion By Drummer Gavin Sant, Otherwise Known As Fullness, The Band Was Then Invited To Participate In The Bbc Television Show, The Uk's Best Part-time Band, Leading To Their Ep Of Cover Tunes, 2016's full Time Pressure,' Again With Dub Versions From Fullness. part Of The Band's Appeal Lies In Its Tightness As A Recording And Performing Unit, When You See Them Live, You Understand That This Band Of Brothers Is On A Higher Mission, United In Their Wish To Use Music As A Means Of Upliftment. And That Sentiment Is Entirely Evident On Cool Under Pressure. The Melodic Bass Grooves Of Mark Shepherd Act As The Perfect Buffer To The Furious Rolls And Expressive Drum Patterns Of Fullness, David 'daddy U' Mountjoy Adds Scintillating Melodies On Keyboards, Including Some Delightful Wurlitzer Lines, And Richard Ramsey's Guitar Licks Tend Towards The Understated, Aside From The Occasional Solo Pyrotechnics, As Heard Here On rocky Road.' And On Songs Like can't Wait,' watcha Gonna Do' And The Title Track, The Brassica Horns Add Further Melodic Depth Through Fanfares Of Treble Brass Texture. with The Rhythms Laid Entirely Through Live Recording Sessions Cut At Fullness' Home Studio In Bournemouth (with Horn And Wurlitzer Overdubs Done Elsewhere), Cool Under Pressure Reveals Dubheart As A Band On The Rise, Heading For Unstoppable Heights.

The Dub Deconstructions On The Disc Allow The Listener To Hear The Exceptional Quality Of Their Playing, Emphasizing Each Member's Individual Talent, While The Lyrics Tackle Subjects We Can All Relate To, With watcha Gonna Do' Addressing Social Inequalities, can't Wait' Alluding To The Refugee Crisis, rocky Road' Imploring Everyone To Hold Strong In Trying Times, And rise Up' Calling For Direct Action Against The Unjust System That Rules Our Lands. Overall, The Outstanding Title Track cool Under Pressure' Really Sums Up The Band's Ethos: The System May Burden Us With The Stresses Of Censure And Control, But Our Obligation Is To Stay True To Ourselves And Resist. And The Music Can Help Us To Achieve This.

"Never Exhale" ist der Sound einer Band, die keine Atempause einlegt. DITZ sind seit der Veröffentlichung ihres ersten Albums "The Great Regression" (2023) unermüdlich auf Tour. Die Songs ihres neuesten Angebots wurden in ganz Europa geschrieben, oft an freien Tagen und in geliehenen Proberäumen. Man könnte sagen, dass die Band das Aufnehmen und Veröffentlichen von Musik als nachträglichen Einfall betrachtet. Oft spielen sie Songs Jahre vor der Veröffentlichung live und optimieren sie dabei. Die Songs auf der endgültigen Platte können sich ändern, bevor sie jemals als Teil des Albums zu hören sind.

"Never Exhale" wurde grösstenteils in den Holy Mountain Studios in London während eines eiskalten Januars aufgenommen. Der Prozess war voller Hindernisse, da der ursprüngliche Plan, in Rhode Island aufzunehmen, durch das Angebot einer Support-Tour mit IDLES aufgegeben wurde, obwohl das Album immer noch vom ursprünglich vorgesehenen Toningenieur Seth Manchester (Model/Actriz, Lingua Ignota, Big Brave) gemischt wurde. Das Ergebnis ist ein Werk, das durch den Druck seiner eigenen Entstehung gehärtet wurde. Mühsam, aber nicht geliebt.

Die Themen der LP offenbaren sich beim wiederholten Anhören. Von der Erkundung dessen, wie es wäre, seinen Einfluss auf die Welt abzuwägen, dem heiligen Petrus, unnötigem Hass und Spaltung, Altern, der Trennung des Physischen von der Realität. Es ist politisch, aber letztendlich persönlich. Mehr Genet oder Kafka als Orwell oder Huxley. Soundtechnisch hat "Never Exhale" seine Wurzeln in den üblichen DITZ-Einflüssen, klassischem Noise-Rock wie The Jesus Lizard oder Shellac oder dem stumpfen Post-Punk von The Fall, bringt aber auch frische Einflüsse ein. Der letzte Track "Britney" könnte mit Radiohead oder Mogwai verglichen werden. Insgesamt ist das neue Album eine klare Weiterentwicklung ihres Debüts. Und ein Zeichen der Dinge, die kommen werden.