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Now repressed on limited edition Venus Pink vinyl – 300 copies for the world Give your retinas a workout A supergroup of sorts - Fat White Family’s Lias Saoudi, Trashmouth Records’ Luke and Liam May, and Quinn Whalley of Paranoid London and Warmduscher - Decius have travelled the earth liberating people from banality since the release of Vol. I. They’ve revealed to all those they’ve encountered just what was missing in their lives: pump without borders, pump without reason - absolute pump. Decius live sets at Berghain’s 19th birthday celebrations, Block 9’s NYC Downlow at Glastonbury and Opium Club in Vilnius have set pulses racing, and they count the likes of Dixon, 2manydjs, Honey Dijon, Mochakk, Or:La, Iggy Pop and Depeche Mode as fans. Now they offer up Decius Vol. II (Splendour & Obedience). It throbs with an almost impossible sense of potential, and expands on the lexicon of molten desire. The sound has moved into new territories, with tastes of house, disco and techno, all with an underlying base note of acid on tracks such as the slippery night cruise intensity of ‘Birth of A Smirk’, where Colonel Abrams gets his nipples tortured. ‘Queen of 14th St’ is all watersports and Cybotron force from Detroit via Deptford. ‘Walking In The Heat’ struts like a sunburnt and horny Kraftwerk, while ‘Ghent’ is purest uncut ’88 acid. Vol. II is the art of seduction in damp rooms painted black. Keep hydrated from whatever source is available. Be your own pleasure centre. Vol. II is veritable selection box of booty bumps and illegal highs made at night for the night and beyond. This is music that takes pride in its walk of shame.

Following one of 2025’s standout EPs, the CEO of the National Centre for Mark Fell Studies fires from the hip in brilliant, club-troubling motion. In step with 30 years of prism-pushing work — and particularly the »Nite Closures« EP, which signalled a concerted return to the dancefloor — Fell pulls aspects of hypermodern dance and electronic music from Chicago, Tanzania, and Japan into his own peculiar agenda.

The hugely distinctive results pull the body into thrillingly unusual, typically ascetic arrangements, activating every pointillist drum hit with attack and decay in a soberly ludic play of rhythmelodic tension and release, executed to delirious ends; 40 minutes of computer music.

As an artist who witnessed first-hand the explosion of electronic music in early ’80s Sheffield, and its interplay with house and rave as it refracted into wild new styles during the ’90s, Mark Fell is uniquely positioned to pursue his passion for the dynamics of electronic dance music to the nth degree. »Servitude In Context« continues to develop ideas around music for movement in the mid-2020s, placing decades of keen observation — from the macro and historical to the niche and hypermodern — at the service of flexing bodies in new directions.

Long-held notions of multistability manifest in what feels like two machines playing chess on the dancefloor, attempting to adapt to each other’s playing styles and patterns in real time, anticipating and zigzagging around the next move. The result is a plethora of options for limber dancers and those who only bust a move inside their heads.

The slow-fast play of accelerating and decelerating strikes, alongside monotonic chatter in »Actuations #1 (Extended)«, acclimatises the body to a uniquely sensual physics. This develops into the rudely screwed, asymmetric angularity of »Time-Slur« and the shatterproof elasticity of »Taut Manifold«, which feels like an LLM trained on Autechre.

»Low Energy Mantra« offers the EP’s closest resemblance to melodic structure, like gamelan and footwork refracted through lab-grown diamonds. Then »Anode« flashes its teeth with a rudeness recalling the latter stages of Fell’s Pat Thomas jams, before »3 Lost Contours (Pts 1–5)« tilts into 12 minutes of proper quicksilver madness, balancing the sexiness of his Sensate Focus work with an updated, clean-hoofed step and parry.

YARN welcomes René Audiard for its tenth release with "Makes Me Feel", a four-track EP from one of underground electronic music’s most singular voices.

Across years of dub techno, minimal and leftfield electronic experimentation, René has developed an approach to stripped-down music that feels anything but limited. Where minimalism can often become an exercise in taking things away, his work finds possibility in what remains. "Makes Me Feel" is a particularly fitting example: immersive, at times strange, but always full of feeling.

‘Lovin’ opens the EP in familiar Audiard territory: murky low-end, locomotive groove, reduced rhythmic compositions and an understated framework swimming in a pool of detail. 'Possession' lets in more light. Vocal echoes, persistent rhythms and occasional string phrases give it a cinematic quality, while a groove that seems to circle endlessly takes on an almost shamanistic pull. The EP’s 11-minute behemoth, 'Flesh', fills most of the release’s B-side while making a convincing case for patience and sophistication. There are echoes of minimal’s golden age here, but Audiard never mistakes repetition for standing still. Tiny rhythmic fragments sit alongside expansive orchestral gestures, with samples working at every scale of the arrangement. Warmth and cinematic drama run through the track, but it's the playful programming underneath that keeps it moving. 'Night' closes the record on a different note, recalling Audiard’s work with Ali Çakır in Düve. Percussive samples, accordion and Middle Eastern guitar phrases bring a more acoustic character to his reduced 808-infused broken beats, making for a playful, occasionally melancholic ending with a distinctly microtonal feel.

What makes René Audiard’s music so rewarding is how readily you recognize his hand in it. There is a particular grain to the sounds, a way of placing details within a groove, and a willingness to follow an idea wherever it leads. Across “Makes Me Feel”, those instincts give four quite different tracks a shared identity. Even when working within familiar forms, Audiard makes them sound entirely his own. It’s the holy grail of music production: a personal sound signature. And a thoughtful addition to YARN’s growing repertoire of reduced, sophisticated dancefloor music.

New super-groovy one-off pressing purple double-vinyl very limited edition of Miami Sound 2 housed in gatefold sleeve, complete with two full-colour inner sleeves containing extensive text and exclusive photography from TK Records in-house photographer Larry Warmoth. Soul Jazz Records’ Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

Throughout the 1970s founder Henry Stone’s TK Records rose up to be one of the most important forces in black music, successfully pioneering the evolution in musical fashions from the early gritty funk and soul at the start of the decade to the arrival of disco in the mid-70s. This album is a rollercoaster journey across soul, funk, disco and boogie, a party-rocking dancefloor-filling collection of monster tracks that includes million-selling hits such as Betty Wright’s classic ‘Clean Up Woman’, Timmy Thomas’s ‘Why Can’t We Live Together’, T-Connection’s ‘Do What You Wanna Do’, anthemic rare groove club hits including Gwen McCrae’s massive ‘All This Love I’m Giving’ and Milton Wright’s ‘Keep It Up’, plus a host of hard-to-find gems and rarities from the likes of Raw Soul Express, Chocolate Clay, Beginning of the End, Robert Moore, Clarence Reid, Little Beaver, Paulette Reeves and many more. TK Records functioned more like a close-knit family than a typical record company. Based in the industrial Hialeah district of Miami, music man Henry Stone surrounded himself with a host of creative artists, musicians, songwriters and producers who created an immediately identifiable TK sound as well as making musical stars out of many of its artists

Producer duo Crossroads is back with another track featuring the talented young singer Cler. This time, they’re taking on a huge classic originally by Grover Washington Jr. and Bill Withers. 'Just The Two Of Us'—a soul classic that’s been loved across three generations—gets a fresh update here, perfectly matching today’s modern soul sound. And once again, Cler delivers goosebumps with her vocals, bringing a seamless mix of simplicity and passion to an timeless hit.

Dream Sonic Research returns with its second installment, blending techno with elements of trance and progressive.The release opens with The Portal, driven by a straightforward bassline, wobbling sub-frequencies, and chords that evoke Detroit techno. It is followed by Rise of June, a track that sets the mood for the party with a groovy bassline and an opening melody.

On the flip side, Blind Karma is a straight-to-the-point, psychedelic tune crafted for adventurous dancefloors. Closing the EP, Water Float takes everything to another place, an ethereal journey that draws you home.

DJ Support: Mochakk, Joseph Capriati, Jamie Jones, Purple Disco Machine, Groove Armada, Marco Carola ,keinemusik, Adrian Roman, Bill Brewster, Rino, Ruben Mandolini, Terry Farley, Nicolas Masseyeff, Echonomist, Robosonic, Nuno Dos Santos, diskJokke, Dan Marciano Jody Wisternoff / Way Out West, Eelke Kleijn, Henry Saiz, Digitalism, Sister Bliss / Faithless, Innellea, Adriatique, Judge Jules, Sam Divine, TSHA, Simone Vitullo, Joris Voorn, Tommie Sunshine, Fahlberg, Stijn D'hont / DJ Neon

D Stone is a rising force in Amsterdam’s electronic music scene, blending live instruments with electronic production to create his unique take on house music. His sound bridges true house to proto-disco and deeper percussive elements, as showcased in his release Total Unison. A passionate DJ and producer, D Stone crafts infectious tracks by combining samples with live instruments, driving dance floors with his grooves. Born into a musical family, D Stone was immersed in sound from an early age. His father’s influence exposed him to diverse musical styles, sparking his lifelong curiosity. He began playing piano at eight, learned guitar at twelve, and by fifteen discovered electronic music, exploring house as a DJ. A year later, he ventured into production, gaining recognition and landing his first gigs. Inspired by 70s and 80s disco, funk, garage, and 90s tech house, his music blends energy, groove, and soul. With his foundation in live instruments and his forward-thinking approach to electronic music, D Stone strives to create more than tracks—he’s shaping moments that linger in the minds of his listeners.

Envision remixed by DJ & producer Julya Karma Emerging from Brooklyn’s underground and now rooted in Berlin, her practice isn’t about fitting into a lane, it’s about finding what is alive and letting it shape the moment.

Across diverse stages and platforms from Coachella and Lost Village to Berghain, Cercle, Space, The Brooklyn Mirage, DGTL, Time Warp, Audio Obscura, Tomorrowland, and within the orbit of Innervisions, Julya’s performances reflect a commitment to exploration over formula, earning recognition from artists like Laurent Garnier, Dixon, Âme, Adriatique, Rüfüs Du Sol, and Sven Väth.

Per Hammar returns to his own Dirty Hands imprint with the four-track ‘Ontario EP’, once again showcasing his raw, robust and groove-led style.

Swedish producer and DJ Per Hammar has steadily carved out a reputation as one of the most distinctive voices in contemporary underground electronic music. As the founder of the acclaimed Dirty Hands imprint, Hammar has built a platform synonymous with deep, groove-led and uncompromising club music, while other productions have found homes on some of the scene's most respected labels including Sushitech, Kalahari Oyster Cult and Craigie Knowes. Here we see him returning to his own home and delivering stripped-back late-night tools, psychedelic excursions and deep, hypnotic dancefloor journeys. Hammar consistently balances functionality with personality, a quality that has established him as one of Europe's most respected underground talents.

Title cut ‘Ontario’ leads with Per laying down crisp, crunchy drums alongside dubby bass tones, fluttering stab sequences and intricate modulations, all delicately ebbing and flowing throughout the composition. ‘Off Disk’ follows, fusing organic percussive elements with weighty sub-bass, shifting synth flourishes and bubbling, delayed melodies that steadily unfold across the groove.

On the flip side, ‘Oops All Sixes’ shifts into more acid-tinged House territory, built around a squelchy acid bass hook and saturated drums, while sporadic, expansive delays and hypnotic reverberations drift atop the track’s raw, loopy foundation. ‘Airex’ concludes the release by diving deeper, stripping things back to oscillating percussion, a snaking low-end pulse and airy chords.

Love is not soft.
It was never meant to be. It sweats, it pulses, it burns through skin.
It lives in the space between bodies. In friction, in tension, in heat that doesn’t ask for permission. LOVE AS A PHYSICAL FORCE is not about romance as an idea, but as an experience.
Something you feel at 5AM, when the night has already taken everything from you, and still asks for more. Across four tracks, DJ Hermano moves between intimacy and impact.
From the longing of Vem pro meu amor to the rupture of No encontrarte nunca mas, love reveals itself as contradiction:

tender and aggressive, distant and consuming. The collaboration with Cuerpos brings a raw edge. Where visceral collides with desire.
Voices don’t just sing; they confront, they provoke, they touch. On the B-side, the body takes over.

Friction Lovers and Desire and Heatwave at 5AM dissolve the emotional into the physical.

Where connection happens through movement, sweat, repetition. This is not love you write about.
This is love you survive. A record for the late-night moments, between the club and sleep.
For the moments where the line between pleasure and exhaustion disappears.
For when desire becomes the only language left. Love, here, is not a promise.
It’s a force.

Pressed to Olive-Green vinyl colour for its 30th anniversary! Released 30 years ago in 1996, Propagandhi's Less Talk, More Rock is the defining masterpiece of political punk. By injecting radical activism into fast-paced skate punk, the album boldly confronted the era's apolitical scene. With unapologetic anthems on veganism, anti-fascism, and gay rights, it endures as a foundational text for activist punk. 30th anniversary of the iconic sophomore album from Canadian band, Propagandhi Produced by Ryan Greene of Motor Studios (NOFX, Bad Religion, Nerf Herder) pro-feminist/animal-friendly/anti-fascist/gay-positive Ranked as one of the best political punk albums in history (Phoenix New Times) Features hit singles "The Only Good Fascist Is A Very Dead Fascist" and "And We Thought Nation-States Were A Good Idea"

Takashi Mizuhashi’s first leader album, popular for its melancholy title track and the epic, over-15-minute version of "So What." This 1974 live recording also captures the vibrant performances of the young Yoshio Otomo and Fumio Karashima. Series supervised by Koki Hanawa.

Mit "Stadt der blauen Eier - Selected Recordings and Rarities 1980-1981" widmet sich Tapete Records einer der außergewöhnlichsten und heute weitgehend unterschätzten Gruppen des frühen deutschen Punk. Korpus Kristi gehörten gemeinsam mit Bands wie Die Radierer und The Wirtschaftswunder zur sogenannten "Limburger Pest", einer Bewegung, die Anfang der 1980er Jahre einige der eigenständigsten Veröffentlichungen des bundesdeutschen Undergrounds hervorbrachte. Diese Werkschau bündelt Singles, Raritäten und ausgewählte Albumaufnahmen aus den Jahren 1980 und 1981 und dokumentiert die kreative Radikalität einer Band, die Punk, Avantgarde und künstlerische Provokation auf einzigartige Weise verband. Die Zusammenstellung macht ein lange vergriffenes Kapitel deutscher Punkgeschichte wieder zugänglich und unterstreicht die anhaltende Bedeutung von Korpus Kristi innerhalb der experimentellen Underground-Szene jener Zeit.

Maria Taylor is a singer-songwriter and founding member of Azure Ray, known for her hushed vocals, cinematic arrangements, and emotionally intimate songwriting. Her new album Story"s End unfolds like a reflective narrative, shaped by years of writing and profound personal change, where sweeping strings and quiet melodies trace loss, resilience, and transformation.

Stone Age Is Now: Poems from Lithic is the new album by musician and poet Caleb Nichols - both a companion piece to his book Lithic: A Hyperballad (Harbor Editions 2026) and a follow-up to his album Stone Age Is Back (Royal Oakie 2025). Across twelve tracks Nichols interpolates poems from Lithic: A Hyperballad with tracks from Stone Age Is Back, bringing new depth to his indie-rock and alt-folk compositions. A meditation on grief, but not in the ways you’d expect, the album explores what it means to be living and dying right now, in this moment of extraordinary change.


Inspired by the raw immediacy of Neil Young, early REM, and Califone, Nichols adhered to a first-take best-take rule and tracked the album in just five days. Produced by Nichols, the album was engineered by Jay Pellicci (Deerhoof, Om, Sleater-Kinney) at Brother’s (Chinese) Recording in Oakland, CA, with Nichols later recording the spoken word overdubs after hours at an empty bar in San Luis Obispo, CA. Pellicci later mixed the tracks and David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain) mastered the album at The Garden Shed in Oakland, CA.


Featuring even more experimentation than Stone Age Is Back, the album is peppered with field recordings captured by Nichols from many locations, including Kew Gardens, London; Llan Tysilio, Yns Mon; Treborth, Gwynedd; a secret beach in Bangor; Kelvingrove Park, Glasgow; and Broad Street in San Luis Obispo, CA. In addition to contributions from band members John Metz and Aaron Kroeger, the album features saxophone by Lorenzo Coretese , and Rhys Trimble provides the Welsh translation and performance you hear on “Orme Dream At The Car Park”. Additionally, Nichols took some liberties adapting the poems from the book to the recordings. “You’ll notice that there are differences between the printed poems and the poems recorded here. That is because a poem is never finished and can exist in multiple instances at the same time, like in quantum mechanics. The cat in Schrodinger’s box is both alive and dead; at the bottom of the cliff, our eyes are both: closed and open” says Nichols.

XKatedral ist stolz darauf, ein neues Album in voller Länge von Label-Mitbegründerin Maria W. Horn zu präsentieren. ,Melting Pillars of Snow" ist eine Sammlung neuer Kompositionen der renommierten schwedischen Komponistin, geschrieben für Kontrabassblockflöte, Sho, Percussion, E-Gitarre, Gesang und Elektronik, gespielt von Horn zusammen mit einem Kammerensemble bestehend aus Anna Petrini, Mattias Hallsten, Magdalena Meitzner und Mats Erlandsson. Das Album enthält außerdem eine Erzählung von Horn sowie einen Gastauftritt von Michael Gira auf der ersten Single ,Scythe of Saturn". Für ,Melting Pillars of Snow" ließ sich Maria von W. G. Sebalds Roman ,Die Ringe des Saturn" inspirieren, einer poetischen Reflexion, die einem namenlosen Erzähler folgt, der an der Küste von Suffolk in England umherwandert. Während sich die Landschaft allmählich verändert, thematisiert der Text auf vielfältige Weise den Lauf der Zeit und die Distanz zwischen Vergangenheit, Gegenwart und Zukunft und spiegelt dabei sowohl weitreichende zeitliche Maßstäbe wie die Zyklen der Jahreszeiten und die tiefe historische Zeit als auch mikroskopisch kleine Momente und Fragmente wider. Mit den Kompositionen auf dieser Veröffentlichung beschwört Maria ein ähnliches Gefühl der Stille herauf - eine Umgebung, in der die Bewegung der Zeit selbst beleuchtet und beobachtet werden kann. Das Instrumentarium auf diesem Album ist Horns bislang ambitioniertestes: Sie ergänzt ihre gewohnte Palette aus maßgeschneiderter algorithmischer Synthese und elektronischer Bearbeitung um eine komplexe Auswahl an Perkussionsinstrumenten, Blasinstrumente, die an beiden Enden des musikalischen Spektrums spielen, sowie E-Gitarre, um so einen spiralförmigen, spektralen Klangteppich durch den gesamten Frequenzbereich zu weben. Die Perkussionistin Magdalena Meizner spielt spezielle Techniken auf dem Obertondreieck, dem Dubachi, den Pauken und dem Tam-Tam sowie auf gestimmten Weingläsern und gestrichenen Crotales. Die von Anna Petrini gespielte tieftönige Kontrabassblockflöte und das von Mattias Hallsten gespielte hochfrequente Sho fügen kontrastierende Akkordarrangements hinzu, die in strengen metrischen Strukturen eingebettet sind. Das Ensemble wird durch Mats Erlandsson vervollständigt, der auf E- und Akustikgitarren spielt und dabei von sanften Arpeggio-Figuren zu düsteren Drones und Feedback-Heulern wechselt.

From the First note of "Roam the Room", Youth's massive, towering rock songs bleed emotion through until the tape runs out on album closer "Drawn Out". Ohio natives CITIZEN have captured the ghost of BRAND NEW's "The Devil and God Are Raging Inside of Me" and reinvented brooding, chrosu-driven alternative rock for a new generation. Beautifully harmonized half-shouted vocals along with fuzzy, reverbed-out leads lend weight to the album's mood while also making it impossibly catchy. Following their recent stint as support on MAN OVERBOARD's tour, CITIZEN will play all of the 2013 Van's Warped Tour, poising them to become one of the biggest alternative bands on the road today. For fans of BRAND NEW, TITLE FIGHT, BALANCE & COMPOSURE.

The single is the latest collaboration from the pioneering electronic artist and follows “Intertwine,” which featured TT, aka Theresa Wayman of Warpaint. Other collaborations on A Body Of Voices include “Turns,” featuring the ethereal vocals of Nicole Miglis (Hundred Waters), and “True Love, Don’t Be Afraid” featuring Stephen McBean (Black Mountain & Pink Mountaintops), “Fight or Flight” ft. Aisha Badru, “Falling” ft. Maiah Manser and multi-instrumentalist Aaron Shaw, “Floating” ft. multi-instrumentalist and composer Spencer Zahn, and the unreleased track, “Take Me” ft. Raphaelle Standell-Preston (Braids, Blue Hawaii). A Body of Voices delivers the most collective and melodically driven project of his acclaimed quarter-century. Having spent decades mastering his natural instincts for space, tempo, and timing, LaValle set a deliberate goal to break beyond his usual parameters by inviting an expansive community of vocalists and marquee indie players into his realm. The resulting record pushes his sonic map entirely, seamlessly blending his signature, textural synthesis with a vibrant tapestry of voices spanning dream-pop, alternative, and R&B. Nearly thirty years into the project, A Body of Voices proves that while The Album Leaf remains unmistakably his, it is a pioneering musical universe he is never afraid to redefine.

This songwriting-focused approach on A Body of Voices marks a natural evolution for an artist who has been steadily making his mark as a soft-spoken innovator since 1999. Now based in Los Angeles, LaValle started out in the San Diego music scene, creating vivid, rhythmic, soaring instrumentals centered around the Rhodes piano. Over more than two decades of acclaimed releases on seminal labels like Sub Pop, City Slang, and others, he has become a definitive touchstone for meditative electro-organic music. While earlier milestones like 2023’s Future Falling and 2024's Blast EP found him increasingly renewed by outside perspectives, A Body of Voices brings that collaborative spirit to its full, unbridled potential.

On The Allfather Awakens, Amon Amarth created a definitive 10-song masterwork that further cements the legacy of the lineup’s spectacularly memorable riffs and unflinching aural power. The opening track of The Allfather Awakens, the epic tale of “Gjallarhorn,” is followed by the heroic battlefield tale “Eight Legs of Thunder,” while “Upphaf,” a translated stanza from the prophetic poem Völuspá, marks the band’s first-ever acoustic offering. The iconic Swedish melodic death metallers took a new songwriting approach for The Allfather Awakens, the band’s 13th album since 1998’s Once Sent from the Golden Hall. The Allfather Awakens came to life across two recording sessions, months apart, at producer Jacob Hansen’s studio in Denmark. Amon Amarth began writing songs while touring, rather than waiting until they were off the road. The first session was Spring 2025; the final recording was completed in March 2026.

On The Allfather Awakens, Amon Amarth created a definitive 10-song masterwork that further cements the legacy of the lineup’s spectacularly memorable riffs and unflinching aural power. The opening track of The Allfather Awakens, the epic tale of “Gjallarhorn,” is followed by the heroic battlefield tale “Eight Legs of Thunder,” while “Upphaf,” a translated stanza from the prophetic poem Völuspá, marks the band’s first-ever acoustic offering. The iconic Swedish melodic death metallers took a new songwriting approach for The Allfather Awakens, the band’s 13th album since 1998’s Once Sent from the Golden Hall. The Allfather Awakens came to life across two recording sessions, months apart, at producer Jacob Hansen’s studio in Denmark. Amon Amarth began writing songs while touring, rather than waiting until they were off the road. The first session was Spring 2025; the final recording was completed in March 2026.

For two decades, Pokey LaFarge has walked his own effortlessly cool road as an exceptionally iconoclastic troubadour - forthright, genuine, and markedly keen to put it all out there. Rent Money now sees him pushing forward yet again in what can be safely declared his finest collection to date, both as an heartfelt expression of personal experience and as no-nonsense social commentary.With its twanging guitars, plucky rhythms, and undeniably captivating melodies, the album soars and swings, its joyous refrains belying the inescapable undercurrent of constant worry and angst that permeates these troubled times. As always, the Illinois native deftly traverses the genre boundaries, seamlessly integrating the myriad strains of 20th-century American music with a freewheeling command of earnest songcraft, inspired performance, and subversive creativity. Rent Money stands tall as an indisputable high-water mark for Pokey LaFarge - a defining collection from a one-of-a-kind artist of rare ingenuity and uncommon candor, now as ever, determinedly crafting a sure-footed brand of deeply human music all his own. Tracklisting:SIDE AThe ThingMy Baby Loves MeHamboneRent MoneyStick TogetherSIDE BWorkStrangerCan't Take it With YouTold You NoBig Boss ManOn and On

Seit zwei Jahrzehnten geht Pokey LaFarge als außergewöhnlich ikonoklastischer Troubadour seinen eigenen, mühelos coolen Weg – offen, authentisch und mit dem ausgeprägten Bestreben, alles offen auf den Tisch zu legen. Mit „Rent Money“ setzt er nun erneut einen Schritt nach vorne und legt ein Album vor, das man getrost als sein bisher bestes bezeichnen kann – sowohl als herzlichen Ausdruck persönlicher Erfahrungen als auch als schnörkellosen gesellschaftlichen Kommentar.
Mit seinen twangenden Gitarren, schwungvollen Rhythmen und unbestreitbar fesselnden Melodien schwebt und swingt das Album, wobei seine fröhlichen Refrains die unausweichliche Unterströmung ständiger Sorgen und Ängste verschleiern, die diese unruhigen Zeiten durchziehen. Wie immer überschreitet der aus Illinois stammende Musiker gekonnt die Genregrenzen und verbindet nahtlos die unzähligen Strömungen der amerikanischen Musik des 20. Jahrhunderts mit einer ungezwungenen Beherrschung ernsthafter Songkunst, inspirierter Darbietung und subversiver Kreativität.
„Rent Money“ ist ein unbestreitbarer Höhepunkt in Pokey LaFarges Schaffen – eine prägende Sammlung eines einzigartigen Künstlers von seltenem Einfallsreichtum und ungewöhnlicher Offenheit, der heute wie damals entschlossen seine ganz eigene, tiefmenschliche Musik mit sicherem Gespür gestaltet.

Die in Brooklyn lebende interdisziplinäre Künstlerin Isabel Crespo Pardo veröffentlicht unter dem neuen Namen iiisa ihr elektroakustisches Solo-Debüt „tanto te he querido“. Inspiriert von lateinamerikanischer Geschichte, Black American Art sowie queeren und trans Perspektiven, steht das Album für Verletzlichkeit, Verbundenheit und stetige Veränderung.

In August 2025, Lee Bains decamped to the Cherry Street Tavern in Chattanooga, Tennessee, a scene known for holding a light for collective good and personal freedom, in order to record a live album. Over that weekend, a group of anti-war activists, union workers, queer rights organizers, inclusive pastors, and people of goodwill—old-time folks—came from Tennessee, Alabama, and Georgia to gather at the Cherry Street Tavern. That weekend, that small group of people on Cherry Street, just like innumerable other groups that day and throughout history, demonstrated to each other and to the microphones, that, in 2025, the South was comprised of free people, no matter what. Free South 2025. Free South 2026. Free South forever. Lee Bains is a poet and songwriter from Birmingham, Alabama, who since 2012 has released four studio albums of what Rolling Stone calls “Southern gospel punk," and will publish his debut poetry collection Work Lunch with Hub City Press in 2026 after several of the poems were first published by the New Yorker in 2021. A cult songwriter forged in independent scenes, his work has carried him all over the U.S. and Europe, has received acclaim from the likes of Rolling Stone, The New York Times, NPR, The New Yorker, and The Guardian, and has led him to be a supporting musician for other artists like Lonnie Holley, Moor Mother, and Algiers. Lee has lent his work to support striking coal miners, immigrants’ rights groups, abortion funds, and anti-racism organizations. He has performed and read at Emory University, the University of Mississippi, Tulane University, Auburn University, and The Royal Institute of Technology (Stockholm, Sweden). He lives in Atlanta, Georgia, where he works between tours as a handyman.

And Their Power Is Alive is a collaborative record between the Vashon Island based artist Faith Coloccia and Ashville based guitarist Tashi Dorji out September on Whited Sepulchre Records. Coloccia and Dorji’s longstanding collaborative relationship and friendship bolsters this massive conceptual weight –– the music is as stirring as it is gorgeous, as exploratory as it is surefooted. And Their Power Was Alive manifests and rises up as a profound iteration of the interrelatedness of the personal and the political, poetically. Coloccia’s plaintive voice, as always, is clear and stirring, intimate, close, and notably here recorded without reverb. She is steady and her lyrics echo dream phrases which visited her during major life shifts: a drive through the arid desert, explaining the concept of private property to the next generation, intergenerational knowledge and caregiving. All of this establishes a melancholia of reflections on land, history, scale. The first words sung on this record are: “Cosmic Horror! I am nothing, I am no-one” and even here, Coloccia is steady. Dorji’s glacial layers of distorted howling guitar create a rise and crest and fall –– symphonies of noise, roaring but distant like fire in the hills, interwoven with piano, organ, and tubular bells.

XKatedral ist stolz darauf, ein neues Album in voller Länge von Label-Mitbegründerin Maria W. Horn zu präsentieren. ,Melting Pillars of Snow" ist eine Sammlung neuer Kompositionen der renommierten schwedischen Komponistin, geschrieben für Kontrabassblockflöte, Sho, Percussion, E-Gitarre, Gesang und Elektronik, gespielt von Horn zusammen mit einem Kammerensemble bestehend aus Anna Petrini, Mattias Hallsten, Magdalena Meitzner und Mats Erlandsson. Das Album enthält außerdem eine Erzählung von Horn sowie einen Gastauftritt von Michael Gira auf der ersten Single ,Scythe of Saturn". Für ,Melting Pillars of Snow" ließ sich Maria von W. G. Sebalds Roman ,Die Ringe des Saturn" inspirieren, einer poetischen Reflexion, die einem namenlosen Erzähler folgt, der an der Küste von Suffolk in England umherwandert. Während sich die Landschaft allmählich verändert, thematisiert der Text auf vielfältige Weise den Lauf der Zeit und die Distanz zwischen Vergangenheit, Gegenwart und Zukunft und spiegelt dabei sowohl weitreichende zeitliche Maßstäbe wie die Zyklen der Jahreszeiten und die tiefe historische Zeit als auch mikroskopisch kleine Momente und Fragmente wider. Mit den Kompositionen auf dieser Veröffentlichung beschwört Maria ein ähnliches Gefühl der Stille herauf - eine Umgebung, in der die Bewegung der Zeit selbst beleuchtet und beobachtet werden kann. Das Instrumentarium auf diesem Album ist Horns bislang ambitioniertestes: Sie ergänzt ihre gewohnte Palette aus maßgeschneiderter algorithmischer Synthese und elektronischer Bearbeitung um eine komplexe Auswahl an Perkussionsinstrumenten, Blasinstrumente, die an beiden Enden des musikalischen Spektrums spielen, sowie E-Gitarre, um so einen spiralförmigen, spektralen Klangteppich durch den gesamten Frequenzbereich zu weben. Die Perkussionistin Magdalena Meizner spielt spezielle Techniken auf dem Obertondreieck, dem Dubachi, den Pauken und dem Tam-Tam sowie auf gestimmten Weingläsern und gestrichenen Crotales. Die von Anna Petrini gespielte tieftönige Kontrabassblockflöte und das von Mattias Hallsten gespielte hochfrequente Sho fügen kontrastierende Akkordarrangements hinzu, die in strengen metrischen Strukturen eingebettet sind. Das Ensemble wird durch Mats Erlandsson vervollständigt, der auf E- und Akustikgitarren spielt und dabei von sanften Arpeggio-Figuren zu düsteren Drones und Feedback-Heulern wechselt.

Probably the most respected and sought-after producer of the European reggae scene of the last ten years, Spanish genius Roberto Sánchez (Willi Williams, Earl Zero, Alpheus, Keith & Tex, Milton Henry,...) takes place behind the microphone to deliver a new album as a singer under his pseudonym LONE ARK. Soberly titled Showcase Vol. 1, this album is a collaboration between Sánchez and the Swiss band THE 18TH PARALLEL, whose playing is well known to reggae fans, since its musicians have recently played and produced some remarkable records, including I've Seen by Oku Onuora, Roots I Vision by Micah Shemaiah or Wonderland of Green by The Silvertones and Burro Banton.

Faithful to the Jamaican roots reggae tradition, Showcase Vol. 1 offers six vocal tracks followed by their dub counterparts where all the creativity of the sound engineer and the musicians is freely expressed. On instrumentals at the same time heavy and irresistibly dancing, with a modern production but deeply rooted in the roots reggae sound, Lone Ark and The 18th Parallel push their listeners to critical reflection. A strong message + powerful music = a must-have album!

Shapes of the Roots is a two piece project by D_Roots. Part 1 has 4 serious, energetic, sharp, melancholic electro tunes. Rock solid dance floor material from this super talented Italian producer!!!

Way Dynamic, das Soloprojekt von Dylan Young aus Melbourne, veröffentlicht international ,Massive Shoe" - sein drittes Album, das verspielt und zurückhaltend, strahlend und facettenreich ist. ,Massive Shoe" ist minimalistischer Folk-Pop, Art-Rock und Barock-Pop, produziert und größtenteils eingespielt von Young, der nebenbei bei Melbournes beliebten Bands Cool Sounds und Good Morning spielt und als Schlagzeuger bei Snowy Band und Kankawa Nagarra mitgewirkt hat. Es ist verlockend, diese Songs nur mit denen vergangener Zeiten zu vergleichen - Youngs Falsett, sein Gespür für Harmonien und die komplexen Arrangements wirken alle zeitlos. Aber es gibt eine Sensibilität, eine Wortwahl, die sich zutiefst zeitgemäß anfühlt: Es ist bezeichnend, dass Katie Crutchfield von Waxahatchee ,Miffed It" als ihren ,Lieblingssong seit SEHR langer Zeit" bezeichnete, und Katie, MJ Lenderman, This is Lorelei und Black Country New Road haben alle Way Dynamic auf Tour mitgenommen, während Sir Elton John sagte, er könne einfach nicht aufhören, ,Ibiza" zu hören. Youngs Songs scheuen weder Sentimentalität noch Albernheit: In jedem beliebigen Song könnte er einen Flug ins All vorschlagen oder ernsthaft eine Missverständigung beklagen. "Can we walk and talk as well?", fragt er in ,I Was the Dancer", und wir nehmen die Einladung sofort an.

Wishys ,Nature's Pill" fängt eine Welt ein, in der sich das Leben unvorhersehbar und überwältigend anfühlt, aber dennoch voller Möglichkeiten ist. Auf ihrem pulsierenden zweiten Album gibt sich Wishy dem Wahnsinn hin - und fängt romantische Frustration, neurotisches Verlangen und das Melodram ein, das sich daraus ergibt, einfach nur Mensch zu sein, in einem ausgelassenen Remix der Vergangenheit. ,Nature's Pill" trägt alle Markenzeichen von Wishy: schräge Texte, die Melancholie in Freiheit verwandeln, Refrains, die sofort zu Klassikern werden, und eine unheilige Fusion aus zuckersüßem Grunge, Indie-Rock und Dream-Pop. Wishys Entstehungsgeschichte war ein produktiver Ausbruch, angetrieben von der musikalischen Synergie der Band: die EPs ,Mana" und ,Paradise" im Jahr 2023, das Debütalbum ,Triple Seven" im Jahr 2024 und die Folge-EP ,Planet Popstar" im Jahr 2025. Nachdem diese Veröffentlichungen Beifall fanden und das Ansehen der Band wuchs, war die Konzeption von ,Nature's Pill" grundlegend anders. Das Album entstand in engerer Zusammenarbeit als frühere Veröffentlichungen, und die Gruppe traf sich erneut mit dem ,Triple Seven"-Co-Produzenten Ben Lumsdaine in Los Angeles, wo sich das Quintett in ein winziges Studio quetschte und die Hälfte der Songs live im Raum aufnahm, wodurch das Album die unmittelbare Energie einer Band erhielt, die nach intensiven Tourneen perfekt aufeinander eingespielt ist. Das gab ihnen diesmal die Möglichkeit, eine noch größere Bandbreite an Einflüssen zu vereinen, wobei sich der 90er-Jahre-Dream-Pop und Alternative-Rock von ,Triple Seven" mit dem College-Rock der 80er und dem Indie der 00er vermischte.

On Chuck Strangers’ latest opus, Glory Of The King’s Hand, he raps, “I still rap from the perspective of my government name…” The stage name “Chuck Strangers” is, of course, an alias but it’s not necessarily an alter ego. For the man born Che Jessamy, his rap moniker isn’t some over-the-top rock star persona contrived for public consumption, it’s just a name. What you hear on his records is really who he is - a heavy-tongued griot from East Flatbush, Brooklyn with a gift for vivid stream-of-consciousness storytelling. His bars are imbued with the wisdom he’s gained in his lifetime - especially in the 14 years since he first made his debut with the Pro Era collective.


The elaborate title of his new album, Glory Of The King’s Hand, speaks to his gratitude for the hand that life’s dealt him, which is a pretty good one. At age 34, he does what he loves professionally and does it on his own terms. That’s something to be thankful for.


Glory Of The King’s Hand, not only represents Chuck’s matured attiGlory attitude but also his matured sound. Key to this refined approach was tude collaboration. Chuck is a proficient beatmaker in his own right as evidenced by his production for himself and artists like Joey Baevidenced Badass, and Boldy James. But this time around Chuck chose to be a dass, producer in the Quincy Jones sense of the word, bringing together vocalists, producers, and musicians instead of handling all of the beats and rhymes himself. d Up Reprise


The list of contributing producers is a who’s who of underground sound scientists including The Alchemist, Animoss, Theravada, Kensound Kenny Segal, Preservation, Child Actor, and Morriarchi.

Das aufstrebende Stockholmer Quartett Clutter ist zurück mit seinem mit Spannung erwarteten Debütalbum ,Sugar Rush", das am 2. Oktober über das schwedische Indie-Label PNKSLM Recordings (ShitKid, Vegas Water Taxi, 7ebra usw.) erscheinen soll. Als eine der spannendsten Bands, die seit langem aus den nordischen Ländern hervorgegangen sind , hat Clutter mit ihren rauen Live-Shows für Aufsehen gesorgt, und ,Sugar Rush" knüpft an die bahnbrechende Debüt-EP ,Loves You" aus dem Jahr 2025 an. Nachdem sie bereits mit Hinds durch Großbritannien getourt sind, auf Festivals wie Pitchfork London und ESNS gespielt haben und Beifall von Medien wie Stereogum, BBC 6Music, DIY, Dork und NME (die die Band als einzigen skandinavischen Act in ihre NME 100 für 2026 aufnahmen), wird 2026 ein großes Jahr für Clutter, mit Tourneen durch Großbritannien und die EU im Anschluss an die Veröffentlichung von ,Sugar Rush".

Das aufstrebende Stockholmer Quartett Clutter ist zurück mit seinem mit Spannung erwarteten Debütalbum ,Sugar Rush", das am 2. Oktober über das schwedische Indie-Label PNKSLM Recordings (ShitKid, Vegas Water Taxi, 7ebra usw.) erscheinen soll. Als eine der spannendsten Bands, die seit langem aus den nordischen Ländern hervorgegangen sind , hat Clutter mit ihren rauen Live-Shows für Aufsehen gesorgt, und ,Sugar Rush" knüpft an die bahnbrechende Debüt-EP ,Loves You" aus dem Jahr 2025 an. Nachdem sie bereits mit Hinds durch Großbritannien getourt sind, auf Festivals wie Pitchfork London und ESNS gespielt haben und Beifall von Medien wie Stereogum, BBC 6Music, DIY, Dork und NME (die die Band als einzigen skandinavischen Act in ihre NME 100 für 2026 aufnahmen), wird 2026 ein großes Jahr für Clutter, mit Tourneen durch Großbritannien und die EU im Anschluss an die Veröffentlichung von ,Sugar Rush".

The scent of fresh greenery rising into the air. A youthful Hidefumi Toki weaves a vivid and beautiful story through a one-horn quartet.



Making his professional debut while still in high school, Hidefumi Toki went on to perform with groups led by New Herd, Isao Suzuki, Terumasa Hino, Ryo Kawasaki, and Fumio Itabashi. From the late 1970s onward, he also collaborated with Ryuichi Sakamoto and Tatsuro Yamashita, contributing broadly to Japan’s music scene across jazz, fusion, and pop.



This album, recorded in 1976, is his third release, following Toki and Lover Man, a dual-leader project with Yoshio Otomo. It features a lineup of dazzling performances and compositions, including “Sky View”, where his soaring saxophone shines over delicate arrangements, and “Let’s Get Together”, evoking the uplifting fragrance of fresh greenery.



With outstanding support from Mikio Masuda—who also contributes compositions—alongside Yoshio Ikeda and Steve Jackson, the ensemble achieves a remarkable balance.



Defined by a gentle perspective and refined, youthful playing, this is a masterpiece filled with the charm of Hidefumi Toki in his early years.

Das wandlungsfähige Trio Vanishing Twin präsentiert sein neues Album ,Archives" - eine Collage aus postmoderner Songkunst, die im gemeinsamen Schaffensprozess Transzendenz findet. Der Albumtitel spielt auf den unverwechselbaren Ansatz von Vanishing Twin an, tägliche Aufnahmesessions anzuhören, zusammenzufügen und neu zu bearbeiten. Gründungsmitglied Cathy Lucas beschreibt den Prozess so: ,Material sammeln, damit herumspielen, es auf den Kopf stellen, versuchen, die Teile zusammenzufügen und daraus eine Geschichte zu erschaffen". Da Lucas mittlerweile ins ländliche Frankreich gezogen ist und Valentina Magaletti sowie Susumu Mukai in London leben, verbinden sich die drei, indem sie Songs und Instrumentalfragmente in einem virtuellen Studio austauschen. Die geografische Distanz wird durch ihre kollektive Kreativität überbrückt, wobei jedes Mitglied als Multi-Instrumentalist seinen Beitrag leistet. Jeder Musiker bringt umfangreiche Erfahrung in Zusammenarbeit und Improvisation mit, wobei das Anhören und Bearbeiten von Studio-Sessions ein wesentlicher Bestandteil des kreativen Prozesses ist. Konzepte von Urheberschaft und Eigentumsrechten lösen sich in der Musik von Vanishing Twin auf, während die Mitglieder Instrumente tauschen und sich ganz dem Moment der Zusammenarbeit hingeben. Die ,Archive", die dem Albumtitel seinen Namen geben, werden zu Dokumenten der kollektiven Intelligenz des Trios. Die chaotische Energie von ,Archives" treibt Vanishing Twin in ungewohnte Formen und Richtungen. Außerhalb ihrer Komfortzonen findet das Trio neue Momente der Erleuchtung und Freude. Tief im Mix hörst du vielleicht, wie Magaletti zum Bass greift, Mukai unerwartet am Schlagzeug einspringt oder Lucas chamäleonartig durch die Lücken gleitet. ,Archives" verfeinert Vanishing Twins Modell des kollektiven Musizierens, bei dem Egos in spielerischen Mix-and-Match-Spielen in den Hintergrund treten und die Kreativität zwischen den drei Multi-Instrumentalisten fließt. Sie bewegen sich zwischen und außerhalb konventioneller Genrekategorien und reihen sich neben Weggefährten wie dem Tara Clerkin Trio und Still House Plants ein, wodurch sie die Vorstellung vom zeitgenössischen Musikensemble erweitern. Nach einem Jahrzehnt ihres Bestehens sind Vanishing Twin wandelbarer denn je.

While composing the music for The Juniper Tree, Hirano drew on her own memories of touring Iceland, which included a stop at a waterfall featured in the film and rendered in sound on “Mother’s Path.” Folktales, like the origins of The Juniper Tree, are often attempts to contend with humans’ place in the natural world, with all its mysteries and intricacies, and both the film and Hirano’s soundtrack draw their sense of breathless wonder in part from the sensation of being engulfed by one’s environment. Margit, played by Björk, possesses a sublime sensitivity to her environment that allows her to receive messages from her mother, who was murdered for their shared inheritance of witchcraft. Hirano captures the relationship between the transcendental awe that is felt as supernatural and the private feelings of being immersed in that experience, creating a musical dialogue between the self and what lies beyond.

In the final sentences of her liner notes describing the film’s philosophical and feminist throughlines, Anna Bogutskaya says, “what we call Margit’s witchcraft is maybe just her willingness to listen.” This is the magic of music, and Hirano composes with an alchemist’s pen. Just as Keene seems to break down barriers between binary poles, Hirano uses both electronic and acoustic means to communicate the film’s emotive cues, uniting approaches she has explored under her own name and the alias MimiCof. There is an understanding that stillness can be understood as peaceful or foreboding, that dissonance and consonance are contextual, that efforts to protect one’s own kin can lead to tragic ends. At the film’s end we see Margit enthralled with birdsong, understanding it as something deeper, a connection to those she has lost. Through sound, we understand what lies beyond sight, beyond convention, and with this new soundtrack we hear the story anew.

Pianist Hideo Ichikawa, a musician equally renowned for his dazzling technical skill and his gift for composing innovative, lyrical works, left behind this outstanding piano trio album for the TBM label. Recorded during the height of his artistic maturity, the album stands as one of the finest achievements of his career. Series supervised by Koki Hanawa.

Experience the emotion of The Last of Us like never before with this stunning Blue & Grey Marble double LP.

Performed by London Music Works, Music From The Last of Us brings together the most iconic themes from the acclaimed video games and TV series, featuring the unforgettable music of Gustavo Santaolalla, along with a piece composed by Max Richter. A must-have release for fans of the franchise and soundtrack collectors alike, presented on a beautifully crafted vinyl edition that is as striking as it is immersive.




[d] a4 The Last of Us (Goodnight) [from "The Last of Us Part I"]
[e] a5 All Gone (No Escape) [from "The Last of Us Part I"]
[f] a6 The Path (A New Beginning) [from "The Last of Us Part I"]







[n] c3 It Can't Last (Sunset) [from "The Last of Us: Season 1"]

[p] c5 All Gone (Flashbacks) [from "The Last of Us: Season 1"]
[q] c6 The Last of Us (Vengeance) [from "The Last of Us: Season 1"]
[r] c7 All Gone (Ephemeral) [from "The Last of Us: Season 1"]

[t] d2 Left Behind (The Journey) [from "The Last of Us: Season 2"]

Twenty-five years after his debut album I’m Serious permanently altered the DNA of Southern hip-hop, Tip "T.I." Harris is officially closing this chapter with KILL THE KING, his twelfth and final studio album. For a man who has spent over two decades as the self proclaimed “King," the project’s title speaks volumes. This is not a surrender of the crown to a rival, but rather a symbolic death of the ego. T.I. is choosing to dismantle the moniker on his own terms, trading the battlefield for peace, legacy, and the freedom to step out of the booth and into the next phase of his life as an actor and family man.

Rather than leaning on pure nostalgia, KILL THE KING proves T.I. is walking away while his pen is still razor-sharp. The project is anchored by the certified gold lead single "LET 'EM KNOW," produced by long-time collaborator Pharrell Williams, which sets an immediate tone of veteran-level precision and polished bravado. Across the 18-track album, T.I. pulls together a masterclass of multi-generational talent that bridges the gap between his trap origins and modern dominance. The album boasts heavy-hitting Southern anthems like "DOPE BOYS ACADEMY” featuring 2 Chainz, Jeezy, and T-Pain, alongside soulful reflections from the Dr. Dre produced track "WHERE I’M FROM" with Anderson .Paak, Atlanta eloquence with Usher on "GORGEOUS," and moody, atmospheric cuts featuring Summer Walker and YoungBoy Never Broke Again.

Ultimately, KILL THE KING is designed to leave nothing unsaid, directly addressing the trials, tribulations, triumphs, and the undeniable imprint he’s left on global hip-hop culture. To mark the end of this historic era, T.I. isn't just letting the music speak for itself; he will be taking his final bow on the road with The King Succession Tour, bringing his sons Domani and King along to officially pass the musical torch. With this final statement, T.I. ensures that the trap music foundation he helped lay the framework for what will endure long after he sets down the mic. The King is dead; long live the legacy.

The Unwound album that ended all Unwound albums. Recorded in a moldering farmhouse basement at the crest of the new century, Leaves Turn Inside You is the no-wave response to Spector’s wall of noise call. Infinite layers of choppy guitar stabs and bridge scrapes, guttural bass thronk, thrift store synths, and monotone chanting wash over suffocating rhythms to deliver the world’s only choral grunge LP. This 25th anniversary edition has been remastered from the original analog tapes and is housed in a glorious silver foil jacket with added emboss, deboss, spot varnish, and a replica 12x24” poster . Reinvented for you.

Ein spannender Mix aus Terrortekk, Electro und Dark Ambient.
Vier klassische nolongerhuman-Tracks in definitiven Versionen (Stand 2026)
Komplett neu abgemischt aus den Original-Session-Dateien, inklusive neu aufgenommenem Gesang
Erste Vinyl-Veröffentlichung dieses Materials
Weltweit streng auf 300 Exemplare limitiert
Klassisches schwarzes Vinyl, passend zum Artwork ausgewählt
Artwork und Konzept von Vlad McNeally
Etablierte Fanbasis in den Dark-Electro-, Industrial- und Aggrotech-Szenen
RIYL Suicide Commando, Hocico, Grendel, Combichrist, Aesthetic Perfection, Tactical Sekt, God Module, Psyclon
Nine, Velvet Acid Christ, Unter Null
Unterstützt durch Promotion in deutschen Medien, Charts, Clubs und sozialen Netzwerken sowie durch DJ-Support

Stepping out of the shadows with refined precision, Saktu returns to Heisenberg with the Fucha EP – a sharp, hypnotic exploration of minimal groove. Sleek rhythms, tactile textures, and playful low-end pressure define this trio of deep, late-night rollers.

Balancing raw functionality with subtle artistry, the Fucha EP captures the essence of what makes Heisenberg a beacon in the modern minimal scene. Crafted for the floor, tested in the booth