quête:th

Felipe Gordon is back on Shall Not Fade with his new album Tezeta and f*ck is it special.

Felipe Gordon is SNF label mainstay... (we released his triple repressed debut album "A Landscape Onomatopeya" in 2022 as well as 7 x 12" EPs on SNF over the years plus an extra 12" on Lost Palms)... so given his consistent and exceptional output on our record label you'd probably forgive some complacency with this write up, you might even afford us license to assume we're preaching to the choir and allow us to rest easy knowing that at this stage Felipe Gordon's records sell themselves.... Well none of those things are happening here because when an artist makes a record this complete, this good, you have to try to find the words. You use words like "timeless", "complete and "special". Words that can carry the weight. Because when you've listened to an album dozens of times, and not once, in any part, on any listen in any way has it fatigued you, you need to say. When a record felt so wonderfully familiar from the first listen and just kept on giving you the same feels ever since, you need to say. When a record makes you think about you how you feel about certain Air & St Germain albums (even when you know what it means to put that in a press release), you need to say. So here we are, saying these things.. Tezeta is a special record, one that exists in the rarefied air. A proper album. A record that every time you press play you will immediately remember why you own it and why you love it. A record that your subconscious will know so well that if shuffle is on you will know in an instant. An album that when it's in your collection and the first track starts you get a twinge of annoyance because you didn't listen again sooner and when the final track stops you stop too.

Given paint and a canvas we can most of us paint a picture, but only those that are gifted can paint something that makes us feel. Tezeta makes you feel. Feel familiarity when it's playing, yearning when its not, and absence when it ends. This alone would be enough to make the argument as to why this album is special and justify the gushing opening paragraph of this press release. But we're not done yet.

We don't really have a word in english for what Felipe Gordon has created with this album and how it makes you feel. "Tezeta" that word.

Tezeta is a one of four musical modes within the traditional Ethiopian modal music system known as Qiñit. Mulatu Astatke, the father of Ethio-jazz, frequently uses this mode, often translating it as "nostalgia" or "longing". Gordon says Mulatu's own tezeta recordings convey to him "feelings of melancholy and longing from a point of affection". This is exactly the feeling Gordon has captured. It is what he has woven through every recording on this album. Tezeta is the prime ingredient. It's the base note in recipe, it's sprinkled over the signature jazz-sampled house tracks. It powers the vast array of synthesizers Gordon deploys. It underpins the explorations into trip-hop. It's present in Gordon's varied vocal deliveries and it tunes his guitar. It's in the running order. It's the flow. Tezeta is tezeta in electronic music form, with 4/4, breakbeats, samples and synths.

Gordon says a big part of what differentiates this album from from his previous albums is that is was recorded in a period where he allowed himself to create music without the constraints of time or self-pressure which coincided with a moment of heavy personal growth which allowed him to reflect deeply on his work.

There is a word in Portuguese "Saudade" that Gordon says has a similar meaning to Tezeta - Saudade is defined as a deep, sometimes bittersweet, longing or nostalgia for someone or something that is absent or lost. But here at SNF we think that in Tezeta nothing has been lost. Quite the opposite. Through Felipe Gordon's artistic explorations we have all gained something very special indeed.

Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After his first group KMD’s sophomore album Black Bastards was shelved by Elektra in 1994, and his blood brother Subroc — one half of the sibling rap duo — passed away, surviving frontman Zev Love X slowly mutated into the supervillain MC known as MF DOOM, and the rap world is better for it.

The 1999 release of Operation: Doomsday marked MF DOOM’s official debut, reintroducing a mysterious figure who would soon become one of underground rap’s greatest voices. Within its 19 tracks, Operation: Doomsday reveals the confluence of DOOM’s tragic past, personal interests and daring creativity. His clever rhymes and remarkable schemes stood out against the landscape, and every sound he touched — from cartoon theme songs, to ‘80s soul, to rap classics and more — got reinterpreted into something brand new and surreal.

Decades later, MF DOOM is still celebrated for all facets of his work and influence. In the face of tragedy, DOOM re-infiltrated the rap game on his own terms, and crafted an instant cult classic. Operation: Doomsday stands as a testament to the power of betting on yourself against all odds.

Inside his quiet, neon-lit room after midnight, the night settles in shades of blue and violet. Screens glow softly, shelves sit lined with dormant consoles, and the outside world feels distant beyond dark windows and sleeping streets.

4 AM Chill Session is an invitation to watch the stars flicker with each spin of the vinyl. In the quiet hours of the night, let the blend of dreamy melodies and relaxed electronic rhythms pull you into a new dawn with this early-morning synthwave compilation. The nostalgic, intimate atmosphere of these 20 tracks will keep you grounded as the hours fade toward morning.



The physical edition is a visual extension of the music: pressed on double "Starry Night" splatter vinyl, the deep blue and sparkling white patterns mirror the celestial aesthetic of the 4 AM sky.

[a] A1 WYS x dreamẅalker Remix - Snowman [dreamẅalker Remix]

The Fiddle and the Drum brings together 5x Grammy winning soprano Renée Fleming and 19x Grammy-winning banjo virtuoso Béla Fleck for a celebration of Appalachian folk music. Produced by Béla Fleck, the album mines a rich vein of America’s musical heritage, weaving the expressive depth of Fleming's voice with the brilliance of Fleck’s banjo, backed by an all-star bluegrass line up and special guests including Dolly Parton, Vince Gill, Mike Bub, Sam Bush, Jerry Douglas, Stuart Duncan, Sierra Hull, Sarah Jarosz, Aoife O’Donovan and Bryan Sutton. Through mountain songs, haunting ballads, and folk hymns, The Fiddle and the Drum honors the roots and emotional power of Appalachia, just in time for America’s 250th anniversary.

"The Moth" ist Devin Townsends bislang ambitioniertestes Werk, ein Projekt, das er als sein Lebenswerk betrachtet - ein immersives Orchester-, Chor- und Theaterprojekt, an dem er über ein Jahrzehnt lang gearbeitet hat. Was als fernes Ziel begann, wurde Wirklichkeit, als Townsend zur Zusammenarbeit mit dem North Netherlands Orchestra and Choir eingeladen wurde.

Im Gegensatz zu seinen früheren genreübergreifenden Werken wurde "The Moth" von Grund auf als vollständig orchestrierte Erzählung konzipiert. Townsend verbrachte Jahre damit, die Grundlagen der Musik neu zu erlernen, um die Partitur selbst zu schreiben: Harmonie, Kontrapunkt und Orchestrierung wurden von Grund auf neu aufgebaut, fachkundig unterstützt von Joseph Stevenson. Das Ergebnis ist ein sorgfältig ausgearbeitetes, emotionales Werk, in dem jedes Instrument und jede Stimme ihren Platz hat.

Das Album wurde in mehr als zehn Ländern aufgenommen und vereint eine außergewöhnliche internationale Besetzung: das bereits erwähnte North Netherlands Orchestra and Choir, die langjährigen Mitwirkenden Darby Todd, Mike Keneally, James Leach und Gäste wie Steve Vai, Anneke Van Giersbergen und Lynn Wu (Ou). Hunderte von Musikern, Toningenieuren, Mixern und Künstlern haben zu dem riesigen kreativen Ökosystem dieses Projekts beigetragen.

Im Kern handelt "The Moth" von Transformation. Durch seine hochfliegenden Arrangements und intimen Momente erkundet das Werk Selbstakzeptanz, Hingabe und den Mut, sich Unbehagen zu stellen, ohne sich abzuwenden.

"The Moth" handelt von der Reise - aber auch von der Ankunft.

"The Moth" wird in verschiedenen Formaten erhältlich sein, darunter als limitiertes Deluxe-Artbook mit 3 CDs + Blu-ray (CD1: Studioalbum, CD2: "The Moth - The Afterlife" Redux Orchestra & Choir Version), CD3: "The Moth - The War (Live)"). Die Blu-ray enthält den kompletten Live-Film "The Moth - The War" sowie Dolby Atmos- und hochauflösende Stereomischungen von "The Moth" und "The Moth - The Afterlife". Es wird

WRWTFWW Records is thrilled to announce their 5th archival release taken from cult Tokyo label FORM@ RECORDS' catalogue, this time with the first-ever vinyl edition of Re-Form Ver-1.0. The remarkable, yet not widely known, 1999 remix compilation is now available as a limited edition 45rpm cut double LP housed in a heavyweight sleeve, as well as in digital format.
Originally only available on CD in extremely limited quantities, Re-Form Ver-1.0 resurfaces as a fascinating document of FORM@ RECORDS' late-1990s creative peak. Re-imagining key pieces from the label's catalogue, the remix collection offers a rare glimpse into Tokyo's electronic underground, where techno, house, ambient, and IDM breathe freely through FORM@'s soulful and exploratory vision.
Highlights include two remixes of Missing Project's adored gem "Poisson D'Avril" (including its well known ethereal ambient Galaxy Dub which appeared on Music From Memory's Virtual Dreams II) as well as the otherworldly Fossil (aka the legend Virgo) Mix of Penance's "Cure & Soul". Throughout, the compilation balances dancefloor sensibility with introspective listening, embodying the warm human approach to machine music FORM@ RECORDS excels in.
Another essential time capsule from a crucial era of underground music, Re-Form Ver-1.0 echoes the spirit of Warp's Artificial Intelligence era, alongside the forward-thinking energy of Ken Ishii, Carl Craig, The Black Dog, and Ian O'Brien, while keeping its feet and individuality firmly rooted in local context - the magic recipe for creating a universal, timeless language of electronic expression.
Re-Form Ver-1.0 follows the vinyl edition of Virgo's Landform Code (1998) and Remnants (1999), as well as the FORM@ compilations Art Form I (1997) and Art Form 2 (1998), further expanding WRWTFWW's archival series dedicated to uncovering hidden gems of late '90s Japanese electronic music.

Non-sensical, un-user friendly, at times half finished. Camper Van Beethoven"s second album II & III saw the folk-punk of the band"s debut LP morphing into an even wider melting pot of stylistic influences and (un)ironic contradictions, all rolled up into a coherently incoherent collection of some of the band"s most defining songs. Originally released in 1986, the follow up to Telephone Free Landslide Victory did much to develop an already iconoclastic Camper Van Beethoven idiom. II & III ranges from alt-country ballads ("Sad Lovers" Waltz") to call-backs to the European folk instrumentals of the debut ("No Krugerrands For David", "4 Year Plan"). Also featured is the band"s bluegrass-Americana take on Sonic Youth"s "I Love Her All the Time", feeding their appetite for cover songs. This deluxe double CD set brings together the original II & III album with a 17 track live album of material from Camper Van Beethoven shows supporting REM on their Life"s Rich Pageant tour. This audio was mostly recorded at the Lincoln, Nebraska show from October 10th, 1986, but is supplemented with audio from other shows of the tour. The Teal Vinyl re-issue features a newly revisited collage version of the artwork, plus a reproduced 11"x11" insert, designed by Victor Krummenacher using original photos, lithograph prints, lyrics and leaflets.

Justin K Broadrick (GODFLESH) and Mick Harris (Napalm Death) drop militant, hard techno on split LP.

New album doubles the track count (and runtime) of the duo's last collab.

Stalwart Birmingham, UK innovators Justin K Broadrick and Mick Harris have connected again as JK FLESH and MONRELLA to deliver the warehouse-destroying hard techno LP SHOUTING THE ODDS, five years after their last EP, SEE RED.

Featuring four tracks from each artist, SHOUTING THE ODDS invokes both the feeling of listening to late night pirate radio and sweating in a darkened warehouse as the rafters shake, complete with the perfect amount of analog wow and flutter. Brimming with gnarled, unrelenting kicks hovering between 130–140bpm, the split format deftly showcases both artist's individual strengths, while displaying undeniable commonality.

Broadrick's side leans traditional hard techno, filled with mesmerizing, minimal synth arpeggios and contrasting toplines, all aligned and maligned by shrewd transitions. Harris' section presents more experimental and house influences, using bright, distorted synth hits and a touch of forlorn melody. The tracks take on a life of their own through expert use of filters and just the right amount of delay, stutter, and glitch.

Never before has an album filled with such shining, shimmering synths been so black and threatening. JK FLESH and MONRELLA have hard techno down to a science.

“No-nonsense old school flavoured techno bangers. We're flying the flag for outsider techno." - Justin K Broadrick

As keyboard maestro James Taylor arrives at his 40th year leading his Quartet, he has re-signed with his original label Acid Jazz and is embarking on a series of the most radical projects he has ever worked on. Following his first classical album ‘Shadows and Dreams’ earlier this year, he brings the Quartet together for a remarkable new album. ‘Te Deum’ sets the ancient, 4th-entury Christian text to intense jazz, funk, and Latin grooves. The music sees the James Taylor Quartet working alongside the children of the Benenden Chapel Choir, and a guest horn section and legendary Acid Jazz percussionist Snowboy. Lead track ‘Have Mercy On Us’ mixes Brazilian samba with Gregorian chants, ‘The Comforter’ sounds like a Donald Byrd with voices Blue Note Records experiment, and last year’s radio favourite ‘Wildflower’ mixes bossa nova with sunshine pop harmonies and a positive message. The JTQ is on tour throughout the year - as he always is and will be worth catching live.

Following the release of Chris Liebing's 'Evolver' album this spring, German duo FJAAK rework 'Higher Things' which appeared on the full-length, releasing via CLR on 29th May 2026. Long established as a formidable force within Techno, FJAAK are known for crafting high-impact, floor-focused tracks, often via their self-titled imprint, with the Berlin artists now joining a star-studded cast on Chris Liebing's latest full-length, including photographer and film director Anton Corbijn on photography, and collaborations with Charlotte de Witte, Luke Slater, The Advent, Speedy J, Terence Fixmer, Pascal Gabriel, and
Daniel Miller.

Their remix reshapes 'Higher Things' around a rattling dub techno framework, where molten chords soften the weight of mechanical kicks while resonant stabs and swelling textures steadily intensify. The result is a hypnotic yet forceful reimagining, balancing atmospheric depth with anthemic, warehouse-ready pressure.

The original version of Chris Liebing's 'Higher Things' appears on his debut solo LP, 'Evolver', released 27th March 2026 on CLR. Marking a distillation of over three decades at Techno's core, the album pairs introspective depth with immediate, floor-driven impact, bringing together contributions from the likes of Luke Slater, Charlotte de Witte, Speedy J and The Advent, while ultimately remaining rooted in Liebing's singular vision, channeling the raw, industrial energy of classic club spaces into a refined, forward-facing long player.

Writing of Blues and Yellows is the highly acclaimed debut studio album by the British folk singer-songwriter Billie Marten, who wrote the album at the age of 16. At the end of 2015, the prodigy was nominated for BBC’s Sound of 2016 award. Marten’s thoughtfully crafted debut is a collection of tales, retrospect, and self-examination. It spawned four singles, “Milk & Honey”, “La Lune”, “Lionhearted”, and “Live”, which remain some of her most popular tracks to date.

The deluxe album of Writing of Yellows and Blues is now again available on vinyl. It includes a bonus D side which features demos, the bonus track “Out of the Black”, and an alternative version of her hit “Milk & Honey”.

The Deluxe 10th Anniversary Edition of Writing of Blues and Yellows is released as a limited edition of 1000 individually numbered copies on transparent vinyl, and includes a 4-page booklet

The first album ever to release on Jahtari vinyl, back in circulation for the first time since it’s original release in 2009.

Twelve meticulously crafted lofi Dub oddities by disrupt, off-the-grid riddims with lots of SciFi samples, cheap synths and effects from another world, all soaked in gnarly but deeply cosmic textures and with expert low end mastering by peak time CGB1 at D&M in Berlin.

This new album version includes all-time classics like “SEGA Beats”, a killer chiphop dub cut of Misora Hibari’s “Ringo Oiwake”, as well as “Berzerk Dub” and “Echobombing” (the instrumental to Kiki Hitomi‘s “Nighwalkers“), which only have been released on CD or limited 7″ before.

“The Bass Has Left The Building” comes with iconic cover art by Jimmy Cauty (KLF) – and an inlay poster with an exploding sound system…

DJ Support: Mousse T, Todd Terry, Young Pulse, Angelo Ferreri, Melvo Baptiste, Richard Earnshaw, Micky More & Andy Tee, Dr Packer, Hatiras, DJ Rae, Mark Picchiotti, Birdee, Shaka Loves You, Yasmin, Saison, Michael Gray, DJ Spen and Hatiras

A Touch Of Love goes from strength to strength with EP8 in the vinyl series. Label boss Seamus Haji reps the A side with his latest faves ‘Fire’ with his good friend Mike Dunn serving up the unmistakable vocals on a funk fuelled Firestarter followed by his collab with the New York diva Kathy Brown over the sexually charged disco chugger ‘Dancing’. On the AA side new kid on the block from Barcelona Osner hit big with his outing ‘It’s Good’ with a nod to the 70’s with a modern twist for peak-time dancefloors whilst Italy’s fast rising underground hero Gledd continues the theme with the blues & soul injected thumper ‘Move Me’.

MINÙ RECORDINGS – NOT FOR FAME 001

Minù Recordings is the label project evolving from Minù, the long-standing party known for its deep connection to underground club culture and the dancefloor. The focus is clear: music first, beyond trends and visibility.

Each year, the label develops around a different theme, shaping the identity of its releases while maintaining a coherent direction. The catalog brings together both established artists and emerging names, all part of the extended Minù circle, connected through the parties and their evolution over time.

All releases are strictly vinyl only.

The first release, Not For Fame 001, introduces a selection of artists closely tied to Minù:

Cristi Cons – Everything_again
Arapu – Night Light
Mennie – Hard Beat
Tripmastaz – Don’t Bang My Line

Genieße jetzt die Musik aus der Emmy-nominierten PBS-Kids-Serie ,Carl The Collector"! ,Sound Spectrum: A Collection of Themes From Carl The Collector" präsentiert die einzigartige Musik von Eraserhood Sound aus Philadelphia. Auf 34 Titeln, darunter der unvergessliche Titelsong der Serie, bekommst du einen Vorgeschmack auf Funk, Soul, Rare Groove, Jazz, Samba, R&B, New Wave und mehr - alles im typischen Synth-&-Soul-Stil von Eraserhood Sound. Die bahnbrechende Serie, die Carl, einen autistischen Waschbären, und seine Freunde begleitet, ist eine der ersten großen Serien, in denen Figuren mit Autismus vorkommen. Serienschöpfer Zachariah OHora wusste, dass er eine einzigartige Musikkomposition brauchte, um das Potenzial der Serie voll auszuschöpfen. Er wandte sich an Eraserhood Sound aufgrund ihres italienischen Library-Music-Albums ,Ribelle Di Mare" und bat um einen ähnlichen Synth-&-Soul-Ansatz. OHora sagt: ,Ich wollte keine typische Kindermusik. Ich wollte nuancierte, emotional reichhaltige Musik, die von und für Plattenliebhaber gemacht wurde." Die Musik, die vollständig von Vincent John und Maxwell Perla komponiert, produziert und eingespielt wurde, fängt die raffinierte Soulfulness von Vince Guaraldis klassischen Peanuts-Soundtracks ein und klingt dabei dennoch absolut frisch und modern. Jeder Song auf dem Album stammt direkt aus Episoden der unvergesslichen ersten Staffel von Carl The Collector. Von funkigen Fuzz-Freakouts bis hin zu düsteren, introspektiven Balladen - genieße einige von Vincents und Maxwells liebsten musikalischen Momenten aus der Serie.

In 2025, Off The Grid celebrated 10 years of existence, throwing several events throughout the world.

It's now time to put a seal on these celebrations with a curation of music, gathering old and new faces orbiting the OTG galaxy, divided into two compilations.

For Part 1, deeper and deeper we go, focusing on delicate aesthetics and dubby grooves, trippy sounds and dreamy atmospheres. A soundtrack for early mornings and initial stages of the night.

Off The Grid was born around this sound and this is a tribute to it.

Part 2 will be announced in Spring.

Stay tuned!

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Mastering & Lacquer Cut by Marco Pellegrino at Analogcut Mastering Studio Berlin
Graphic Design by Guillaume De Ubeda
Pressed at Mother Tongue in Verona

Castle Rat ist eine mittelalterliche Fantasy-Heavy-Metal-Band aus New York, angeführt von „The Rat
Queen“ Riley Pinkerton an der Rhythmusgitarre und als Leadsängerin. Auf ihrer Mission, „The Realm“
zu vergrößern und vor denen zu verteidigen, die es zerstören wollen, wird The Rat Queen unterstützt von
„The Count“ (Franco Vittore) an der Leadgitarre und als Backgroundsänger, „The Plague Doctor“ (Charley
Ruddell) am Bass und „The All-Seeing Druid“ (Josh Strmic) am Schlagzeug. Gemeinsam stellen sie sich
dem unerbittlichen Zorn ihrer Erzfeindin: dem Tod selbst – „The Rat Reaperess“.
Seit ihrer Gründung im Jahr 2019 haben Castle Rat 2024 ihr Debütalbum „Into The Realm“ veröffentlicht
und sind unter anderem bei Festivals wie dem RPM Fest, Hopsmoker, Desertfest, Hellfest und Copenhell
aufgetreten. Über die Jahre hat sich die Band eine treue Fangemeinde aufgebaut, indem sie fesselnde,
interaktive und traditionsreiche Live-Auftritte mit choreografierten Kampfszenen kuratiert und Fans rekrutiert, die sich nach Schwertern und Zauberei, Stoner und Doom, Kampfbabes und Bestien, Frazetta und
Sabbath sehnen.
Ihr zweites Studioalbum, „The Bestiary“, erschien Ende 2025 und wurde von Kritikern und Fans hoch
gelobt, wodurch die Band in bisher unbekannte Bereiche der Heavy-Musik vorstieß.

The Illegal Disco Limited series never misses. It's all about the king of cheeky edits adding his own spin to a carefully curated mix of disco and funk nuggets and, once again, here Monsieur Van Pratt is back with the goods. Though he always nods to the past with these reworks, he beefs them up with grooves designed for loud systems and to move floors. This one opens with the funk licks and disco stylings of 'Watcha Gonna Do' then gets celebratory with the feel good hands in the air vibes of 'The Contest'. Last but not least, 'Dance With Me' explores a more lavish sound with big vocals and lavish string stabs for good times only. Another doozy from Mr Pratt.

Transamericas reissues Atom™’s Kraftwerk-goes-chachachá classic

After 25 years out of print, El Baile Alemán — the cult album by Señor Coconut (one of Atom™’s many aliases) — returns on vinyl via Transamericas. What began as a half-joke (“The only way I’d cover Kraftwerk is as chachachá or death metal…”) became a fever-born epiphany: Kraftwerk’s electronic minimalism recast through a tropical imagination — where chachachá, mambo, and cumbia intertwine with glitch, breakbeats, and distressed samples.

Long before reggaeton and trap filled stadiums and playlists, Señor Coconut was already mapping the fault lines between Latin rhythm and electronic form.
Originally released in Japan in 2000, El Baile Alemán caught the ear of Kraftwerk’s Florian Schneider, who unexpectedly championed the project. This reissue has been cut from Atom™’s 2022 remasters, preserving the album’s detail for a new generation of listeners. In the second half of 2026,

Transamericas will also reissue El Gran Baile (1997), his first outing — a rawer but equally idiosyncratic fusion of what Atom™ was going to frame as electrolatino.

FELT wade deeper into the murky waters of contemporary Scandinavian electroacoustic music following the recent reissue of Johan Wieth’s Health & Safety project on sub-label LEFT and established gems from the likes of Civilistjävel!

Gintė Preisaitė, a Lithuanian artist and graduate of Copenhagen’s Rhythmic Music Conservatory, reveals her first solo release under her own name, following a collaborative effort with Toshimaru Nakamura in 2025 and a number of cassettes as “Baraboro”. The deliberately genre-blurring sound Preisaitė deploys works with composed pop vignettes, sustained drones, FX manipulations and guttural bursts of noise. Sparse piano movements, sample-laden psychedelia and moments of big beat/trip-hop rhythms gel with crowd noise, close mic’d intimacy and experimental percussion with a focus on instrumental timbres and extended techniques.

With a background in composing for large ensembles, Preisaitė's multi-instrumental approach is evident across the eight tracks, moments of dense concrète-style sound collages anchored by the human voice never being far away. She laments on fantasy, absurdity and relationships as a cast of players contribute string, brass, accordion, and guitar parts. Passages move from delicate acoustic folk motifs through to wide-eyed, cut-and-paste glitch electronics and spectral melodic riffs, making the album an unorthodox and welcome addition to Denmark's current world-class music scene.

MILK is the new EP born from the collaboration between Brussels-based producers Alex Lesage and Eekway. The project marks the convergence of two complementary approaches to contemporary electronic music, united by a shared vision: creating music with strong physical impact, designed for the club while maintaining depth and high production standards.



Developed in Brussels, the project's home base, MILK sits at the crossroads of Drum & Bass, Jungle, and IDM, combining the heritage of UK bass traditions with a distinctly modern sonic research. The EP explores sharp rhythmic structures, massive low-end pressure, and detailed sonic architecture, driven by extensive work in sound design, sampling manipulation, and spatial composition.

After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites.


Spanning seventy minutes, the new album is available on special edition limited red translucent 2LP vinyl in triple gatefold sleeve with a 16-page booklet, black 2LP vinyl and CD with 20-page booklet.

After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites.


Spanning seventy minutes, the new album is available on special edition limited red translucent 2LP vinyl in triple gatefold sleeve with a 16-page booklet, black 2LP vinyl and CD with 20-page booklet.

Celebrating three decades of geek-rock history, Nerf Herder returns with Nerf Herder redux, an acoustic reimagining of their seminal 1996 self-titled debut originally released on Arista Records. Produced by the legendary Joey Cape (Lagwagon), this 30th-anniversary collection breathes new life into fan favorites, featuring stripped-back versions of the hit single "Van Halen" and the streaming powerhouse "Sorry." With a tracklistbolstered by refreshed takes on "Golfshirt," "Diana," and "Nosering Girl," the album serves as both a nostalgic deep-dive for longtime fans and a fresh entry point for the band's massive digital audience. Nerf Herder's enduring cultural footprint_from composing the iconic Buffy the Vampire Slayer theme to lead singer Parry Gripp's Emmy-winning career and 2 million YouTube subscribers_ensures a multi-generational appeal. Having shared stages with titans like Weezer, Circle Jerks, and Reel Big Fish, the band maintains a loyal, active fanbase. This release arrives ahead on their European 30th Anniversary Tour in late May and early June.

Congo Lion was immersed in African, Afro-Caribbean and reggae music from an early age. Settling in Africa when he was a teenager, he was strongly inspired by artists such as Burning Spear, Peter Tosh or The Gladiators. Convictions and values carried by their captivating melodies, full of humanity and spirituality, echo the sensitivity of Congo Lion. “Word, power and sound” is the foundation of his creative approach, inviting a return to origins, and openness to others. Self-taught, he composed his first songs in English and Jamaican Patois under the name of Natty Congo, at the age of 16. Most of his recent collaborations have been alongside the renowned Reggae producer, Karigan. Recording at his Back to Basic Studio, to produce a Reggae Roots Vintage sound, without concession, harking back to the original creations & tradition of the 70s & 80s.

Record Kicks freut sich, die Vinyl-Neuauflage zum 10-jährigen Jubiläum von ,Late Nights & Heartbreak" zu präsentieren, dem Durchbruchsalbum von Hannah Williams & The Affirmations, auf dem der Song zu finden ist, der zum emotionalen Rückgrat von Jay-Zs wegweisendem Album ,4:44" wurde. ,Late Nights & Heartbreak" kam 2016 raus und wurde von Kritikern gelobt. Seitdem ist es ein moderner Soul-Klassiker. Sein Vermächtnis wurde besiegelt, als Jay-Z den Titelsong von ,4:44" komplett um Hannah Williams' Originalaufnahme herum aufgebaut hat. Der Song, der als unverfälschtes Geständnis der Untreue genutzt wurde, war Jay-Zs Antwort auf ,Lemonade" von seiner Frau Beyoncé und machte Hannahs unverwechselbare Stimme einem weltweiten Publikum bekannt. Aufgenommen im Quatermass Studio in London - der Heimat der Kulthelden The Heliocentrics - zeigt ,Late Nights & Heartbreak" Hannah, begleitet von ihrer neu gegründeten Band The Affirmations. Produziert wurde das Album von Malcolm Catto, der für seine Arbeit mit Künstlern wie Mulatu Astatke, Orlando Julius, Floating Points, Quantic, DJ Shadow und Madlib. Das Album wurde komplett analog gemischt und auf Band gemastert und bietet einen rohen, druckvollen und zutiefst eindringlichen Sound. Auf 13 Tracks erkundet ,Late Nights & Heartbreak" viszeralen, kraftvollen Soul mit einem subtilen psychedelischen Touch. Von der eindringlichen ersten Single ,Tame in the Water" bis zum unerbittlichen achtminütigen Groove von ,Still in My Head" zeigt das Album die schiere Kraft und Kontrolle von Hannahs Stimme in ihrer elektrisierendsten Form. ,Woman Got Soul" liefert fünf Minuten mitreißenden, kraftvollen Funk, während tiefgründigere Stücke wie ,Another Sunrise" und ,Your Luck Can Change" einen üppigen, emotionalen Hintergrund für Themen wie Liebe, Lust, Sehnsucht, Wut und Verletzlichkeit bieten. Alle Songs sind Originalkompositionen, die von dem in Bristol ansässigen Kollektiv um The Affirmations unter der Leitung von Musikdirektor James Graham geschrieben wurden - mit Ausnahme einer atemberaubenden, psychedelisch-souligen Neuinterpretation von ,Dazed and Confused", die stark von der Originalversion von Jake Holmes inspiriert ist. Hannah Williams, die schon früh von der verstorbenen Sharon Jones gesegnet wurde, eroberte 2012 mit ihrem Debütalbum ,A Hill of Feathers" die Soul-Szene. Die Single ,Work It Out" wurde ein Indie-Radiohit und ebnete den Weg für eine Karriere, die von moderner Soul-Mythologie geprägt ist. Aufgewachsen in einem musikalischen Haushalt, sang Hannah ab dem Alter von sechs Jahren im Kirchenchor und konnte Noten lesen, bevor sie richtig lesen konnte. Heute ist sie eine unaufhaltsame Kraft - eine Künstlerin mit einem seltenen Talent, wie es nur einmal in einer Generation vorkommt. Zehn Jahre später kehrt ,Late Nights & Heartbreak" in dieser speziellen Jubiläumsausgabe auf Vinyl zurück und bestätigt erneut, warum Hannah Williams & The Affirmations nach wie vor zu den kraftvollsten Stimmen des zeitgenössischen Soul gehören.

Guided By Voices’ last album Thick Rich And Delicious (October 2025) was lauded by NPR’s All Things Considered and picked #1 on Magnet Magazine’s Best Albums Of 2025. The single “We Outlast Them All” from this latest, Crawlspace Of The Pantheon, is an anthemic victory lap on album #44 from the indie rock stalwarts. Robert Pollard told Rolling Stone: “ ‘We Outlast Them All’ could be our ‘We Are The Champions’ but it’s not necessarily about us.

It’s about anyone who perseveres over a long period of time.” On Crawlspace Of The Pantheon: “I worked much more diligently on this set of lyrics. I chiseled away at lines and sections and phrasings...I wanted them to have an overall emotionally conceptual feel. At times it feels somewhat autobiographical.” Guided By Voices will not be on tour in 2026. Pollard recently told Magnet: “Why would we stop playing live and make these kinds of records? I don’t know. We do what we wanna do.” “Pollard is the greatest rock lyricist of all time.” —Dennis Cooper

Christopher Tignors ,Bleeding Past the Edges" ist ein bewusster Kontrapunkt zur heutigen, von KI geprägten Musiklandschaft und stellt die menschliche Hand fest in den Mittelpunkt des Schaffensprozesses. In einem kleinen Studio voller Geigen, Stimmgabeln, Pedalen und maßgeschneiderter Software hat Tignor ein Performance-System entwickelt, das sich weniger wie eine Maschine, sondern eher wie ein lebendiges Instrument verhält. Anstatt sich auf Loops oder Backing-Tracks zu verlassen, generiert er jedes Stück in Echtzeit und fängt Klänge ein und formt sie um, während er spielt. Geigenstreichmelodien erweitern sich zu vielschichtigen Mustern, perkussive Schläge lösen sich entwickelnde Strukturen aus, und selbst eine einzelne Stimmgabel kann sich zu einem ganzen harmonischen Feld entfalten. Das Ergebnis ist ein immersiver, orchestraler Klang, der live von einem einzigen Interpreten erzeugt wird, der sich durch ein eng verwobenes System aus Gestik, Timing und Code bewegt. Jedes Element beginnt als physische Handlung und bleibt damit verbunden, was der Musik ein Gefühl von Unmittelbarkeit, Risiko und Präsenz verleiht, das sich durch das gesamte Album zieht. Auf dem Album bewegt sich Tignor fließend zwischen rhythmisch geprägten Kompositionen, die das Instrument als perkussiven Motor behandeln, und melodischeren Werken, die im expressiven Kern der Violine verwurzelt sind. Die Lead-Single ,Weight of Words" unterstreicht diese Balance und entfaltet sich mit einer narrativen Klarheit, die Tignors Kompositionsansatz widerspiegelt. Er beschreibt diese Stücke oft als ,Kurzgeschichten", in denen Melodien als roter Faden dienen und jedes Werk durch wechselnde Strukturen und emotionale Bögen führen. Der Titel ,Bleeding Past the Edges" verweist auf Momente, in denen die Musik über ihr ursprüngliches Konzept hinausgeht, in denen sich die Struktur lockert und der Klang nach außen fließt. Tignor vergleicht den Prozess mit ,einem Seiltänzer", bei dem sorgfältige Vorbereitung auf die Möglichkeit einer Transformation in Echtzeit trifft. Obwohl die Systeme streng ausgearbeitet sind, behält jede Aufführung ein Element der Unvorhersehbarkeit, wodurch sich die Musik ständig weiterentwickeln kann. Im Laufe von zehn LPs, die über Western Vinyl und New Albion erschienen sind, hat sich Tignor in klassischen und experimentellen Kreisen breite Anerkennung erworben. The Guardian bezeichnete ihn als ,absurd talentiert", während Bandcamp seine ,schiere technische Meisterschaft" hervorhob und The New York Times seine seltene Fähigkeit lobte, Computer bei Live-Auftritten nahtlos mit akustischen Instrumenten zu verbinden. The Wire lobte seine Kompositionen zudem für ihre fließenden, sich entwickelnden Strukturen. Über seine Soloarbeit hinaus hat Tignor mit Künstlern wie Rachel Grimes, Helios, Jefre Cantu-Ledesma, John Congleton und This Will Destroy You zusammengearbeitet. Sein Hintergrund verbindet verschiedene Disziplinen: Er hat einen Doktortitel in Komposition von der Princeton University, einen Master in Informatik vom NYU Courant Institute und einen Bachelor vom Bard College, wo er bei dem Dichter John Ashbery studierte. Mit ,Bleeding Past the Edges" führt Tignor diese Stränge zu einem Werk zusammen, das sich sowohl streng konstruiert als auch lebendig anfühlt - ein Album, das Performance, Körperlichkeit und die anhaltende Ausdruckskraft menschengemachter Klänge in den Vordergrund stellt.

Of Course sneaked into both Ivan Smagghe and Nic Arizona’s sets after it was encountered on Valerj’s semi-lost album (in the mountains of Corsica). It proposed a straight (hypnotic) answer to the eternal question: what is house music? A track reminiscent of the hazy days of Derrick Carter’s first European gigs, the tripped-out funk of D.I.Y., or Brett the E Texan. It spoke to them.
As a true believer in those simpler times, Roman Flügel delivers a remix, staying true to the roots of the original but elevating it to impossibly higher skies. Both Say Sorry and Midnight Pulse are more of the same: house music for those who may, at times, lost faith in it.

Featuring virtuosos of "Contemporary Armenian" music such as Bei Ru, Lara Sarkissian and Armen Ra, as well as shedding a light on the independent music scene in Yerevan, "YERAZ" is an exercise in ethnomusicology. Classical songs and instruments collide with the full spectrum of electronic-based music from ambient to techno and everything in between, building a mosaic inside of a specific cultural context. Whether you are looking to get lost in meditation or bring dynamic energy to a room, this record serves as a tool kit for all intents and purposes with a traditional touch. The double-LP is split between Angeleno artists (Sides A and B) incorporating folk instruments and melodies to reinterpret the "Contemporary Armenian" idea outside of the established pop landscape, and Yerevani artists (Sides C and D) emulating popular musical trends of the West through their native lexicons. Critique will be donating 100% of its net profits from sales of YERAZ to Kooyrigs, a non-profit organization providing resources for women and transparent aid to the Armenian homeland.

The Bug Club sind mit einem neuen Album zurück. Seit ihrem letzten Album sind ganze sieben Monate vergangen. Wo waren sie denn? Every Single Muscle, das fünfte Album der Band, ist das dritte, das von Sub Pop, dem angesehenen Label des walisischen Duos aus Seattle, veröffentlicht wird. Seit Very Human Features, das im Juni 2025 rauskam, sind die Lieblinge von BBC 6 Music und KEXP auf ihrer Nonstop-Tour quer über den Atlantik geflitzt, wie sie es früher auf der Severn Bridge gemacht haben. Verschiedene Festivalauftritte im Sommer haben sie davon abgehalten, Urlaub zu machen - wer braucht schon Urlaub, wenn man in Wales lebt? - bis es Zeit war, wieder ins Songwriting-Studio zu gehen. Das ist wahrscheinlich immer noch ein Schlafzimmer in Caldicott, das von einem Windhund namens Ted frequentiert wird (aufgepasst - er taucht in einem der Songs auf). Die Songwriter Sam (Gitarre, Gesang) und Tilly (Bass, Gesang) sind immer bescheiden und behaupten sogar, dass sie während des Songs ,It's Our Manager David" nur ,herumsassen und nichts taten". Das ist eindeutig eine Lüge. Every Single Muscle startet mit ,Miss Wales 2012" voll durch und bezieht sich dabei auf einen Wettbewerb, den sowohl Tilly als auch Sam tatsächlich gewonnen haben. Es ist der erste von vielen Tracks auf dem Album, die weniger als zwei Minuten lang sind, und gibt den Ton für das bisher punkigste Album von The Bug Club an, das sowohl an die kurzen, knackigen Snaps ihrer allerersten Singles als auch an das Grunzen ihrer jüngsten Veröffentlichungen erinnert. Das Album ist so vollgepackt mit Riffs und eingängigen Hooks, dass Sam tatsächlich um Erlaubnis bittet, im zweiten Track ,A Good Day For Dying" ein Solo einbauen zu dürfen. Er bekommt zwei Sekunden Zeit. Glücklicherweise fragt Sam später noch einmal und bekommt mehr Zeit. Auf achtzehn Songs gibt's genug klassisches Gitarrenspiel von Sam und Tilly, um selbst die lautstärksten Bug Club-Fans zufrieden zu stellen und die Behauptung der Band, sie seien ,nur technisch versiert auf ihren Instrumenten", klar zu widerlegen. Dieses Album ist ein Beispiel für effizienten Maximalismus - so wie wenn dein Vater das Auto für den Urlaub vollpackt. Bring mit, was du willst; der Platz ist knapp, aber sie kriegen es irgendwie rein. Zu den Texten: Während ,Very Human Features" hervorragend alltägliche Dinge aufzeigte und ihre Absurdität hervorhob, schauen The Bug Club auf ,Every Single Muscle" genauer auf sich selbst. Allerdings nicht so sehr auf introspektive Weise, sondern eher so, wie ein Außerirdischer ein gefangenes Exemplar auf einer intergalaktischen Trage untersuchen würde. Horrorfilme haben ihr ,Body"-Subgenre, jetzt bekommen auch Garage-Rock-Alben ihres. In einem völlig neuen Sinne des Wortes selbstbezogen, wird die menschliche Form und Verfassung im Laufe des Albums aus jedem Blickwinkel beleuchtet und untersucht. Wir spüren eine surreale Distanz zum Selbst, die den allgegenwärtigen, von Langeweile geprägten Humor hervorbringt; im letzten Song verkündet Sam, dass er ,es satt hat, ein Mensch zu sein". The Bug Club scheinen dem Konzept, ein Mensch zu sein, fast misstrauisch gegenüberzustehen - als wären sie in einem Kostüm aufgewacht, das sie nicht anziehen wollten und nicht ausziehen können. Ist drei die magische Zahl? Wahrscheinlich nicht. Aber Every Single Muscle - das dritte Sub-Pop-Album von The Bug Club - kommt dieser Vorstellung nahe genug, um den durchschnittlichen seltsamen Menschen davon zu überzeugen, dass es so sein könnte.

Alva Noto - Wave Weave – Sono Obi is the original soundtrack by Alva Noto, composed for a film by Carsten Nicolai.

- The project emerged from a collaboration with an 12th-generation kimono textile manufacturer in Kyoto, Japan.

At its core, the work explores the translation of sound into textile form: sonograms of musical compositions serve as the basis for woven structures, connecting acoustic frequency patterns with traditional weaving techniques.

Alongside the original soundtrack, the release includes an alternative soundtrack version and a photographic documentation featuring sonograms, soundtrack visualizations, and film stills.




Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1

Artist: Alva Noto
Title: Sono Obi Wave Weave
Playtime: 00:22:00
Explicit Lyrics: No
ISRC: DE1N62600001
(P): 2026 NOTON

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: B // Track: 1

Artist: Alva Noto
Title: Sono Obi Landscape
Playtime: 00:06:10
Explicit Lyrics: No
ISRC: DE1N62600002
(P): 2026 NOTON

Composer: Carsten Nicolai
---------------------------------------------------------

Zum 60-jährigen Jubiläum von Raumpatrouille - Die phantastischen Abenteuer des Raumschiffs Orion erscheint die siebte Veröffentlichung unserer Peter-Thomas-Reihe als erweitertes, klanglich überarbeitetes Reissue auf CD und LP. Der ikonische Soundtrack gilt bis heute als einer der prägendsten der deutschen TV-Geschichte - futuristisch, rhythmisch, wagemutig. Peter Thomas verlieh der Serie eine einzigartige Klangsignatur, deren Strahlkraft weit über das Bildschirmformat hinausreicht. Der legendäre Vocoder-Countdown und Titelthema wurden zahllos gesampelt, gecovert und neu interpretiert - u. a. von Pulp, Pizzicato Five, Die Fantastischen Vier und Mousse T. In Zusammenarbeit mit Philip Thomas konnten vier bislang unveröffentlichte Stücke aus dem Nachlass des Komponisten ergänzt werden. Die LP basiert auf der Philips-Originalausgabe von 1966, erweitert um die neuen Titel - und enthält ausschließlich Musik, die in der Serie zu hören war, mit einer Ausnahme: "Bolero on the Moon Rocks", dessen Sample Pulp 1998 zu This Is Hardcore inspirierte. Die CD bietet über 60 Minuten Originalmusik, inklusive rarer Outtakes, ohne später hinzugefügtes Füllmaterial.

Zum 60-jährigen Jubiläum von Raumpatrouille - Die phantastischen Abenteuer des Raumschiffs Orion erscheint die siebte Veröffentlichung unserer Peter-Thomas-Reihe als erweitertes, klanglich überarbeitetes Reissue auf CD und LP. Der ikonische Soundtrack gilt bis heute als einer der prägendsten der deutschen TV-Geschichte - futuristisch, rhythmisch, wagemutig. Peter Thomas verlieh der Serie eine einzigartige Klangsignatur, deren Strahlkraft weit über das Bildschirmformat hinausreicht. Der legendäre Vocoder-Countdown und Titelthema wurden zahllos gesampelt, gecovert und neu interpretiert - u. a. von Pulp, Pizzicato Five, Die Fantastischen Vier und Mousse T. In Zusammenarbeit mit Philip Thomas konnten vier bislang unveröffentlichte Stücke aus dem Nachlass des Komponisten ergänzt werden. Die LP basiert auf der Philips-Originalausgabe von 1966, erweitert um die neuen Titel - und enthält ausschließlich Musik, die in der Serie zu hören war, mit einer Ausnahme: "Bolero on the Moon Rocks", dessen Sample Pulp 1998 zu This Is Hardcore inspirierte. Die CD bietet über 60 Minuten Originalmusik, inklusive rarer Outtakes, ohne später hinzugefügtes Füllmaterial.

As the first release of Flux Code Recordings, Ferplay brings us this 4 tracks EP called “Electric Waves”.

Blending trance and breakbeat elements, acid sequences and punchy old-school drums, each track captures the energy of the 90s underground electronic music spirit.

Flux Code Recordings is a record label inspired by old-school and underground electronic music, exploring styles such as trance, breakbeat, acid and more.

It is born from the concept of music as a living language, an ever-changing code and a continuous flow of rhythms and melodies in constant evolution.

Flux Code channels the raw energy and the rave spirit of the underground electronic music culture, connecting past roots with future sonic pathways.

With the release of De Todas las Flores, Natalia Lafourcade returned with an album of entirely original material for the first time in seven years.

Musically, De Todas las Flores, dives into a wide variety of Latin jazz and folk genres, such as bolero, cumbia, bossa nova, and samba. Lafourcade describes the album as her musical diary, exploring themes of heartbreak, loss, and grief. She drew inspiration from nature, particularly her home garden in Xalapa, Veracruz.

Lafourcade enlisted the help of her former neighbour, Adán Jodorowsky, for production. The musical touch came from musicians such as the guitarist Marc Ribot (Tom Waits, John Zorn) and the bassist Sebastian Steinberg (Soul Coughing, Eddie Vedder, Fiona Apple).

De Todas las Flores is available as a limited edition of 2000 individually numbered copies on transparent vinyl and includes an insert and printed inner sleeves.

Yore Records proudly welcomes Craig Alexander with a deep and timeless 12" straight out of the birthplace of House: Chicago.
Across four previously unreleased cuts, Craig Alexander delivers a refined blend of deep, jazz-inflected House music. Rooted in the classic traditions of the genre yet shaped by a distinctly musical and organic approach, these tracks unfold with warmth, depth, and subtle complexity.
Rich chord progressions, soulful textures, and fluid grooves come together to create a truly immersive listening experience. There’s a clear nod to the golden era of House, while the production maintains a fresh and contemporary edge — perfectly aligning with the ethos of Yore Records.
This 12" is both a DJ tool and a deep listening journey — versatile, emotional, and built for long nights and early mornings alike.
A genuine and heartfelt statement from an artist deeply connected to the roots of House music.Strictly limited to 250 copies worldwide / no repress.

Recycled purple cassette tape The monster-collecting open-world RPG "Cassette Beasts" is delivering a furious 80's synth rock meets British indie soundtrack composed by Joel Baylis and featuring shooting star Shelby Harvey on vocals. This soundtrack is taking you on a journey across the mysterious island of New Wirral - from lo-fi acoustic ballads to all-out headbangers! By the way, welcome to New Wirral, a remote island inhabited by strange creatures you've only dreamed of, nightmares you hopefully haven't, and a cast of brave folks who use cassette tapes to transform for battle. To find a way home you'll need to explore every inch of the island, and record monsters to your trusty cassette tapes to gain their abilities!

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.



The Release:
Striking the sweet spot between sampledelic downtempo and earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humour.
Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

'Chemistry' and 'Rankine', plus an exclusive print of Catherine Brennand's watercolour painting that graces the front of the album. All editions also features liner notes by veteran music journalist John McCready.

Press response to Old Codes New Chaos:
"The album that made the world finally sit up and take notice of the avant funk grooves coming from Hull's immaculately stoned tech funk magicians." Frank Tope, Mixmag, UK 1994.
"This album… stands out a mile from most of its peers as a work of untouchable genius." Bill Brewster, DJ Mag UK 1994.

"Fila works because they fit into that no man’s land, the space in your record collection where ambient seems too much like wallpaper and house seems just too braindead for your bedroom " Frank Tope, Mixmag, UK 1994.

"Having already created the perfect desert island disc, "Mermaids" and explored the darker side of sub bass on the 17-minute extravaganza "Fila Funk", Fila Brazillia have just unleashed their moving debut LP, "Old Codes New Chaos", and to be quite honest, you'd be fool to miss out this time around." Mandi James, Melody Maker, UK 1994.

“Where Cobby and Man rip up the rulebook on the four to the floor and probably make the greatest afterhours house album in the word”. Tony Marcus, Mixmag, 1996.

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.



The Release:
Striking the sweet spot between sampledelic downtempo and earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humour.
Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

'Chemistry' and 'Rankine', plus an exclusive print of Catherine Brennand's watercolour painting that graces the front of the album. All editions also features liner notes by veteran music journalist John McCready.

Press response to Old Codes New Chaos:
"The album that made the world finally sit up and take notice of the avant funk grooves coming from Hull's immaculately stoned tech funk magicians." Frank Tope, Mixmag, UK 1994.
"This album… stands out a mile from most of its peers as a work of untouchable genius." Bill Brewster, DJ Mag UK 1994.

"Fila works because they fit into that no man’s land, the space in your record collection where ambient seems too much like wallpaper and house seems just too braindead for your bedroom " Frank Tope, Mixmag, UK 1994.

"Having already created the perfect desert island disc, "Mermaids" and explored the darker side of sub bass on the 17-minute extravaganza "Fila Funk", Fila Brazillia have just unleashed their moving debut LP, "Old Codes New Chaos", and to be quite honest, you'd be fool to miss out this time around." Mandi James, Melody Maker, UK 1994.

“Where Cobby and Man rip up the rulebook on the four to the floor and probably make the greatest afterhours house album in the word”. Tony Marcus, Mixmag, 1996.

Jack Callahan und Jeff Witscher waren echt müde. Seit der Jahrtausendwende hatten sie sich beide in der amerikanischen Underground-Experimental-Musikszene abgemüht, unter Namen, die du vielleicht kennst oder auch nicht: Rene Hell, Marble Sky, die Reihe, um nur einige zu nennen. Ihr erstes Album Think Differently war das Ergebnis einer Reihe von Endpunkten: der Auflösung ihrer Underground-Szene und, nicht zuletzt deswegen, der Tatsache, dass die abstrakte Musik, die sie seit jeher getrennt und gemeinsam gemacht hatten, nicht mehr so gut ankam wie früher. Wo sonst sollten sie hingehen als auf die andere Seite des Hufeisens: zur Popmusik. Warum also nicht den Zeichen der Zeit folgen? Eine Gitarren-Pop-Rock-Hymne zum Jahrtausendwechsel aufnehmen, die davon handelt, dass man als alternde Underground-Musiker keine Noise-Musik mehr machen will. ,Sorry to Hear That" ist ein Album über ,Think Differently". Wenn ,Think Differently" ein meta-konzeptuelles Album war, dann ist ,Sorry to Hear That" ein meta-meta-konzeptuelles Album. Meta Meta+Hodos. Es wurde über einen Zeitraum von 9 Monaten nach dem ersten Album aufgenommen. Es war eine Zeit persönlicher und beruflicher Umbrüche: Der anfängliche Optimismus aufgrund der Aufmerksamkeit, die "Think Differently" erhielt, schlug schnell in Fanatismus um und mündete unweigerlich in Angst, Enttäuschung und Zerwürfnis. Das Album, das sie schließlich aufgenommen haben, ist ein Dokument und eine Erzählung über diese Zeit. ,Sorry to Hear That" ist eine Fortsetzung, die klanglich und konzeptionell dort ansetzt, wo das erste Album aufgehört hat. Hier gibt es mehr Gitarre, mehr Breakbeats, mehr selbstbezogenes Unwohlsein und mehr humorvolle Selbstironie. Es fängt perfekt ein, was das Duo von Anfang an vermitteln wollte: Es ist ein mitreißendes Album voller Kommentare von beiden Seiten, dem Spieler und dem Gespielten, die bis ins Unendliche gesteigert werden. ,Sorry to Hear That" hat eine Reihe von Gastauftritten von alten und neuen Kumpels aus der Independent-Musikszene: Marlon DuBois, Frontmann von Shed Theory, Dylan Baldi und Jayson Gerycz von Cloud Nothings, Flannery Silva alias F.G.S., Jazz Lambaux und andere.

Produced by Masters At Work (Kenny Dope and Louie Vega).

'Collaboration is stimulating, it's in my blood.' Thus speaks Brian Jackson and his philosophy for making music and it's indeed collaboration that runs through this amazing album of reimagined and revisited songs from his artistic past. Featuring artists such as Black Thought, Rahsaan Patterson, Josh Milan, Moodymann, Omar, J. Ivy and others and being produced by Masters At Work, Now More Than Ever takes the enduring classic tracks that Brian made with Gil Scott-Heron and places them in the now over nineteen tracks and across a triple vinyl LP or double CD.

Songs such as Lady Day & John Coltrane, The Revolution Will Not Be Televised, Home Is Where The Hatred Is, Winter In America, The Bottle and more soundtracked a generational movement of Black Consciousness in the 70s and 80s. As Brian says, 'This album is one way to connect to what we were about in the 70s; we were about change and this is part of the lineage of resistance. These tracks mark a period of time when resistance was essential and now a younger generation has picked them up.'

'As young men in their twenties we (Brian and Gil) just wrote about what we saw and were feeling and people interpreted these songs in ways we never thought about but as Sly stone said the song comes from me but it's for you.' This statement from Brian perfectly sums up the collaborative nature of Now More Than Ever and the relevance of these songs in a contemporary perspective can be perfectly summed up by the songs themselves. The formidable stable of artists contributing to each track and the excellent production from Louie Vega and Kenny 'Dope' Gonzalez make this album an event in itself. However, these songs are there to be enjoyed as a canon or as individual masterpieces, whether on the dancefloor or on a home system. ‘Now More Than Ever’ just has to be in everybody’s music collection.

Unpolished, refined, energetic club "mutations" Rantzen and Spinoglio go way back in time as old friends, and we are reuniting some of their old and recent pieces to forge a strong atmospheric dance LP with a unique flavor. Luen is also contributing strongly through her collaboration with Andy on " Black cloud". Some tracks in this release were made 15 years ago and some others were made in the last 5, but who cares ? Enjoy the music

Formed in 1994, Belgian power trio Metal Molly quickly built a reputation for their infectious blend of indie rock, grunge energy, and sharp melodies.
Their debut Surgery For Zebra was released in 1995, the album was driven by their single "Orange", which received extensive airplay across Europe.

The album propelled the band onto major stages, including Pinkpop and Torhout Werchter (1996), alongside high profile support shows with Therapy?, Bush, and David Bowie. After a highly successful run, Metal Molly disbanded in 2000.
In 2025 the band reunited to celebrate the 30th anniversary of Surgery For Zebra, it also resulted in this long awaited vinyl pressing, now available for the first time.

Surgery for Zebra is now available as a limited numbered edition of 500 individually numbered copies on turquoise vinyl and it includes an insert.

,now i imagine a place not the same" ist eine Doppel-LP und ein neues Solo-Statement des Gitarristen und Komponisten David Torn, veröffentlicht bei Kou Records. Es kehrt zur rohen Energie seiner frühen Klangsprache zurück und treibt diese gleichzeitig mit der Klarheit jahrzehntelanger Erkundungen voran. Das Album ist gleichermaßen viszeral und schwerelos und konzentriert sich auf Torns langjährigen Dialog zwischen alternativen Stimmungen, Loop-Architekturen und berührungsempfindlicher Elektronik - eine Klangwelt, in der Melodie, Noise und Atmosphäre sich ständig ineinander verschmelzen. Als Pionier der E-Gitarren-Bearbeitung ist Torn weithin bekannt für seine Arbeit in Musik und Film, darunter langjährige Kooperationen mit dem Komponisten Howard Shore, Beiträge zu Filmen von David Cronenberg und einflussreiche Veröffentlichungen bei ECM Records, die dazu beitrugen, eine atmosphärische, filmische Sprache für die E-Gitarre zu definieren. Torn nähert sich jedem Stück als einer Form kompositionsorientierter Improvisation und behandelt alles in seiner Reichweite als musikalisches Material: Saiten, Tonabnehmer, Verstärker, externe Elektronik, Stimme, resonante Oberflächen und den physischen Raum selbst. Aufgenommen, gemischt und produziert von Randall Dunn und mit einem Schwerpunkt auf Unmittelbarkeit und physischer Präsenz eingefangen, wird die Gitarre Teil eines größeren Systems - Schaltkreise atmen, Delays wiederholen unvollkommene Erinnerungen, Töne regenerieren sich durch Berührung. Klänge entstehen durch Zufall, Geste und Intuition und werden dann durch aufmerksames Zuhören geformt, während sie sich entwickeln. Anstatt auf festgelegte Ergebnisse hin zu komponieren, lässt Torn die Form durch Feedback und Wiederholung entstehen und nimmt jeden Klang - ob beabsichtigt oder nicht - in einen sich ständig weiterentwickelnden musikalischen Körper auf. Indem er grundlegende Werkzeuge aus seinen prägenden Verarbeitungsjahren wieder aufgreift - alternative Stimmungen, Looping-Logik, Röhrensättigung - lehnt Torn Nostalgie ab und gewinnt stattdessen ihre Unmittelbarkeit als lebendiges Material zurück. Gleichzeitig intim und gewaltig fängt ,now i imagine a place not the same" einen Künstler ein, der seine einzigartige Sprache voll und ganz beherrscht: zutiefst melodisch, rigoros experimentell und verwurzelt in Vertrauen, Berührung und Elektrizität. Nicht als rückblickende Geste, sondern als gegenwärtige Erklärung bietet das Album eine kraftvolle Meditation über Vergänglichkeit, Erneuerung und das fortwährende Leben des Klangs.

For the decennial release on Punctuality Warsaw duo W.A.C., aka Private Press step up with their Forever W.A.C EP. Moving away from their more techno-oriented offerings, Forever W.A.C. keeps the tempo and energy of their earlier work but suffuses the mood with warm, glowing trance and prog energy. This is peak-time Punctuality business in its purest form– on time as ever. “No More No Show” comes in hot from the get-go: galloping snare rolls, raved-up breakbeats, uplifting pads, big basslines, acid licks, and the low-end wubs that have become synonymous with the Punctuality sound. One for that point in the night when the dancefloor has melted into sweaty, eyes-closed, hands-up amorphia.

Barely recognisable to its original counterpart, the Rhyw remix strips the A1 down to the bare essentials. Preserving only a few percussive elements, the euphoria of No More No Show is replaced with hazy, cinematic synth washes that drone around a skeletal groove loaded with bassweight, warping the original into a dubbed out psychedelic UK stepper. Shifting to the morning light, “Only Froggerz” is a shimmering roller that ebbs and flows around barreling kick drums, kaleidoscopic synth lines, and vaporous FX, with lustrous chord work driving the emotion dial to 11. Elegant and restrained but relentlessly pummeling, it’s early-morning club gear at its finest.

Rounding out the EP with an essential slice of modern prog, “Close” utilises all the good bits: skippy basslines, filtered squelches, tribal-leaning percussion, and a relentless groove that builds around the subtle interplay between the stabs and the vocals. An epic closer that feels as true to the Punctuality canon as ever.

Chins For Lefty is the debut album and first recording by Gichard, a new duo chronicling the absurdities of end-stage capitalism and mouldering social rituals from their vantage point in Glasgow, Scotland. Recorded primarily in the band’s home studio straight to tape, Chins For Lefty combines gorgeous, ramshackle melody, DIY kosmische punk, drum machine + synth and, in vocalist/lyricist Lisa Jones, an absurdist commentator on the human condition as it navigates the anxieties of the modern world. Instrumentalist Chas Lalli’s swirling music accompaniment stitches an evocative mix of musical styles, the ragged wind beneath the lyrics’ wings.

Although the duo first collaborated in their previous group Dragged Up, their disparate musical and artistic backgrounds make for an alluring mix in Gichard. Lalli has spent the last 20 years in the Glasgow underground, most notably in the noise rock group VOM, while Lisa Jones’s practice was in poetry and spoken word. Beginning as co vocalist in her previous band, in Gichard her lyrics are centre stage; the vision concocted alongside Lalli amounts to a total world-build.

Chins For Lefty scans almost like a novel, with each track elucidating a skewed universe that bears only some resemblance to the one you and I partake in. Like all works of fiction Gichard’s songs are rooted in reality and the lived experiences of its authors, but here characters are exaggerated, social mores and habits are pulled apart to reveal their inherent alienness. Universal emotions are laid bare, the bright light of anxious examination searching out every hairline fracture in our relationships. Distorted and cracked, the mirror that Gichard hold up to our world is also pretty damn funny.

Opener Cholesterol Test launches an expansive, cosmic guitar and synth intro that belies the Tascam-tape recorder it was recorded onto, like a Chromatics cut substituting anxiety for overt sexuality. Here Jones intones an apology to a non-responsive recipient, in the medium of a long voice note forensically deconstructing an interaction from the night before. Over punk guitars and shuffling, lo-fi drum machine splutters, the narrator in Asking The Apes “prefers things to people” before being taken hostage in the city zoo to confess an obsession which consumes the protagonist, ending with the immortal two liner “I sleep in a cocoon of old newspapers at the end of your street / And I think I have been fired from my job,” On album standout Posthumous Hologram, the narrator is faced with a human simulacra, in this case an undead pop star; the face of the encroaching technological singularity. Yes, it does requests, it can do My Way in 200 different language options. But what are the implications? While you’re left pondering, the alternating deadpan verse delivery and undeniably catchy chorus keep you company.

By the time Break Up With Johnny Dogbirth rattles into view, the band are satirising a suburban inanity blown up to cartoon proportions, soundtracked with a drawled musicality that recalls Rowland S. Howard’s post-Birthday Party balladeering. This approach is furthered on Human Resources: over an angular guitar+bass track, Jones’s short story recalls Dry Cleaning’s erudite lyrical post punk. On Soft Face, Lalli’s guitar and drum machine are swathed in echo and delay, as Jones dissects dating rituals with a west of Scotland drollness. Hamming It Up brings a porcine perspective in a short story that begins with the line “I was breastfeeding discreetly in the service station. She didn’t mind.” What follows is a passage punctured with canned laughter and a narrative involving tribute acts, modern farming techniques.

Brilliant first single Your Private Hell closes the album, the closest the group get to earnest perhaps, filtered through a surreal central Scottishness. While Your Private Hell might seem like a sardonic take down of romance, perhaps it’s the very distillation of love in all its awkwardness, selflessness and weirdness. Here there’s a distinctive Glasgow-ness to this doomed romance: the protagonist falls for an outsider, offers them cheap jarred hot dogs and carbolic soap (the infamous, excoriating soap dished out in schools and government buildings throughout Scotland), offers to cover up a murder, stalks them in the all-night Spar. It’s a short story of intrigue, murder and the irresistible pull of self-sacrifice to share in someone else’s suffering. If that’s not love, what is it? You can see this vision mapped out in black and white on their video for 'Your Private Hell'.

Welcome to the modern 'Spaghetti Western' revolution. Never before pressed to vinyl, Sydney-based indie band The Slims will release both their EP's on a special double EP vinyl record release. Off the back of touring with Jet, The Slims are looking to release their debut LP Nov 2026.

The master of ambient soundscapes, intertwining authentic old school breakbeats with his inimitable style returns with a fresh album of choice cuts for the Spatial crew. A1 - Form of Defraction Opening the LP in his gloriously unique style, Aural Imbalance sets the tone with a powerfully ambient intro of padwork and delicately filtered breaks before dense, analogue old school breakbeats roar to life sending the track skyward. The sublime 808 bassline simmers beneath an ever-evolving soundscape of twinkling melodies and strings, the very essence of serenity captured in just under 7 minutes of audio bliss. A2 - Discreet Function Enveloping the listener with a warm blanket of silky ambience, Discreet Function soon jolts to life with a crunchy breakbeat that counteracts yet compliments the pads and myriad of delicious micro melodies so well, you wonder how it’s possible to take such extremes and mix them down so expertly that our ears accept it as one. After a relatively brief breakdown the track rolls out before the breaks are snatched away at the death - capping off a quite unique composition. B1 - Softlight Light cymbals and delicate textures introduce us to Softlight, a track which sees Aural Imbalance guiding the listener through the clouds to a haven of gentle serenity where your troubles simply fade away, punctuated by a stunningly programmed and memorable Hot Pants break pattern, timid classic basslines and an overall plethora of sun-baked energy - perfect for the headphones and the record box - as always. B2 - Airwave Immensely old school vibes are immediately present in Airwave, with analogue breaks and succinct female vocal samples that mingle with echoing melodies and synthwork to create a beautifully flowing and unique slice of atmospheric gold. Additional breaks are fused into the mix as the track progresses, elevating the piece to the heights we have come to expect from Aural Imbalance, yet never cease to amaze. C1 - Speed of Light Gentle cymbals and filtered breaks open Speed of Light, before a crisp barrage of amen goodness descends and dominates proceedings - just as a good amen should! Programmed to perfection with an immensely danceable rolling pattern, the amens lead us through a sea of washing synths and delicate melodies, intertwining and frolicking in the mix, completing a charming and memorable piece. C2 - Fading Star Playful strings and a luscious 808 bassline play with sumptuous padwork in the intro to Fading Star, a track which sees Aural Imbalance capture the essence of 90’s jungle and it’s symbiotic relationship with atmospheric drum & bass perfectly. Developing throughout with an array of unassuming effects and a quietly moving vibe, Fading Star is the perfect addition to sets spanning the entire history of this music. D1 - Drifting Under Bright Skies Aural Imbalance resurrects the excellent break last featured on Spatial in his sublime track Surface Area, this time chopped and sliced to a different vibe, with kickdrums at the forefront and that fantastically crunchy snare deployed more sparingly. Shimmering padwork and light melodies dance across the mix throughout to leave us with a refreshingly unique and memorable track you won’t be able to get enough of. D2 - Violet Completing this fine LP of old school ambient breakbeat mastery, Aural Imbalance deploys Violet to see us out - a climactic-feeling romp that opens with quiet intent before launching the listener through cheery melodic tones and bustling soundscapes, sprinkled liberally with airy pads and fluttering micro melodies that zip and whoosh around thick analogue breakbeats. A fitting end to a thoroughly enjoyable album. Words by Chris Hayes (Spatial / Red Mist) credits

For the first time in its 27-year history, Defected compile its greatest hits, underground anthems and bonafide house music classics into a five volume triple vinyl collectors series.

Volume One collects twelve of Defected’s most established and sought after releases.
Featuring arguably ‘the' Defected anthem; Kings of Tomorrow ‘Finally’ alongside Solomon’s huge Noir & Haze remix, Ibiza anthems ‘Guitarra G’, ‘At Night’ and ‘Coma Cat’ plus productions and remixes from Louie Vega, Dennis Ferrer and Dimitri From Paris.

An essential addition to your record collection.

Nashville Pussy’s second album High As Hell reissued on vinyl for the first time via Svart Records Nashville Pussy is an American rock band from Atlanta, Georgia formed in 1996. Their blend of southern hard rock with tongue-in-cheek lyrics about all the rock’n’roll clichés have delighted audiences around the world for three decades and the band is still active to this day. Their sophomore album High As Hell was originally released on TVT Records back in 2000 and is now getting its first reissue treatment on vinyl via Svart Records. The album is a raw, high-energy fusion of AC/DC-style hard rock, Motörhead, and Lynyrd Skynyrd, delivering a non-stop, guitar-driven sound with praised guitar work by Ruyter Suys. Nashville Pussy stepped up their game with High As Hell by catchier riffs and solid songwriting, offering a loud, unapologetic, and ferocious 40-minute ride.

Nashville Pussy’s second album High As Hell reissued on vinyl for the first time via Svart Records Nashville Pussy is an American rock band from Atlanta, Georgia formed in 1996. Their blend of southern hard rock with tongue-in-cheek lyrics about all the rock’n’roll clichés have delighted audiences around the world for three decades and the band is still active to this day. Their sophomore album High As Hell was originally released on TVT Records back in 2000 and is now getting its first reissue treatment on vinyl via Svart Records. The album is a raw, high-energy fusion of AC/DC-style hard rock, Motörhead, and Lynyrd Skynyrd, delivering a non-stop, guitar-driven sound with praised guitar work by Ruyter Suys. Nashville Pussy stepped up their game with High As Hell by catchier riffs and solid songwriting, offering a loud, unapologetic, and ferocious 40-minute ride.

Crystal Clear Vinyl. Incendiary Device (I.D.) was born from the ever-burgeoning hardcore and punk scene in New York City. Founded by NYHC journeyman, documentarian, and filmmaker Drew Stone (vocals), and Tristan D'Graves (bass), Incendiary Device's music is steeped in early hardcore and classic punk while inescapably maintaining the edge and grit of their New York roots. Produced once again by the band and Neal "Zum" Ostberg (Fryette and Sound City amplification) and mixed by Dan Korneff (My Chemical Romance, Lamb of God, The Devil Wears Prada).

The two Portuguese-speaking African islands of Sao Tomé & Principe, located in the Gulf of Guinea, created an unique music called Puxa: a refined mixture of various musical components from both sides of the Atlantic Ocean. A blend of Semba, Merengue, Kompas, Soukouss, Coladeira patterns, often pushing forward with a voodoo-like energy, solid bass lines, delicate melodies and backing harmonies of the rich Sao Tomean melodic traditions. Very first compilation focusing on the golden age of these island"s sounds, the 16 tracks selected will surely set fire on all dance floors!

Michael Hurley ist einer der besten und produktivsten Songwriter der Welt. Diese LP enthält Heimaufnahmen, auf denen Michael Gitarre, Banjo und Orgel spielt. Erhaben und manchmal ein wenig seltsam - ein neuer Klassiker für die Ewigkeit. Zu den Songs gehören ,The Kentucky 3" - ein wunderschönes Instrumental-Medley aus Liedern, die an Kentucky erinnern, ,Charona" - eine großartige Banjo-Ballade, ,Tender is the Guitar" - eine traurige, von der Orgel getragene Ballade, ,Boone and Jocko" - ein langjähriger Favorit aus Michaels Live-Sets, der endlich auf Platte erschienen ist, ,Cuckoo Rock" und ,Lo Bonney" - zwei einzigartige Neuinterpretationen traditioneller Balladen, ,Dragging the Indian" - ein karges Instrumentalstück und vieles mehr. Lassen Sie sich dieses Meisterwerk nicht entgehen. Covergestaltung von Michael selbst.

Kaum zu fassen - Gimp Fist sind nun schon seit 21 Jahren eine feste Größen der britischen Oi!-Szene. Das Trio hat sich als eine der angesehensten Street-Punk-Bands Großbritanniens etabliert, mit einem einzigartigen Songwriting-Stil fernab der üblichen Klischees, treffsicherem Gespür für mitreißende Songs und eigenem Sound, in Europa ebenso beliebt wie in Großbritannien. Und ihre Street-Punk-Hymnen füllen jedes Jahr den Empress Ballroom mit einer Kapazität von 3.000 Plätzen beim Rebellion Festival in Blackpool. Die Band stammt ursprünglich aus Bishop Auckland, County Durham, und hat seit ihren Anfängen im Jahr 2005 elf Alben, ein halbes Dutzend Singles und drei EPs veröffentlicht. Auch wenn es nicht immer leicht ist auch Anerkennung bei der größtenteils auf London fokussierten Musikpresse zu finden, haben sie doch eine treue Anhängerschaft in UK und ganz Europa gewonnen und sind vor allem dem Publikum des Rebellion Festivals bekannt, wo sie seit 2008 jedes Jahr auftreten. Zwei Jahre nach dem letzten Album "Losing Streak" erscheint nun das 12. Album "Take the Power Back", produziert von Jamie Wilson, mit insgesamt 15 brandneuen Titeln. "Wir haben das Gefühl, dass wir auf diesem Album viele unserer Einflüsse und Stile miteinander verschmolzen haben, ohne dabei das typische Gimp-Fist-Feeling zu verlieren", sagt Sänger und Gitarrist Jonny. Von der Auseinandersetzung mit der aktuellen Wirtschaftslage und den Kämpfen der Arbeiterklasse in Songs wie "Give Me A Reason" bis hin zu den angstgeladenen, an die frühen Rancid erinnernden Tiraden gegen Faschisten und Tyrannen in "Waiting For The Punchline". Mit einer Mischung aus Street-Punk, Ska und Dirty Reggae wird "Take The Power Back" alle alten Fans begeistern und ohne Frage neue Anhänger gewinnen. Als Digipak CD, LP klassisch schwarze (limitiert) oder zweifarbiges "Atomic" Vinyl erhältlich.

Kaum zu fassen - Gimp Fist sind nun schon seit 21 Jahren eine feste Größen der britischen Oi!-Szene. Das Trio hat sich als eine der angesehensten Street-Punk-Bands Großbritanniens etabliert, mit einem einzigartigen Songwriting-Stil fernab der üblichen Klischees, treffsicherem Gespür für mitreißende Songs und eigenem Sound, in Europa ebenso beliebt wie in Großbritannien. Und ihre Street-Punk-Hymnen füllen jedes Jahr den Empress Ballroom mit einer Kapazität von 3.000 Plätzen beim Rebellion Festival in Blackpool. Die Band stammt ursprünglich aus Bishop Auckland, County Durham, und hat seit ihren Anfängen im Jahr 2005 elf Alben, ein halbes Dutzend Singles und drei EPs veröffentlicht. Auch wenn es nicht immer leicht ist auch Anerkennung bei der größtenteils auf London fokussierten Musikpresse zu finden, haben sie doch eine treue Anhängerschaft in UK und ganz Europa gewonnen und sind vor allem dem Publikum des Rebellion Festivals bekannt, wo sie seit 2008 jedes Jahr auftreten. Zwei Jahre nach dem letzten Album "Losing Streak" erscheint nun das 12. Album "Take the Power Back", produziert von Jamie Wilson, mit insgesamt 15 brandneuen Titeln. "Wir haben das Gefühl, dass wir auf diesem Album viele unserer Einflüsse und Stile miteinander verschmolzen haben, ohne dabei das typische Gimp-Fist-Feeling zu verlieren", sagt Sänger und Gitarrist Jonny. Von der Auseinandersetzung mit der aktuellen Wirtschaftslage und den Kämpfen der Arbeiterklasse in Songs wie "Give Me A Reason" bis hin zu den angstgeladenen, an die frühen Rancid erinnernden Tiraden gegen Faschisten und Tyrannen in "Waiting For The Punchline". Mit einer Mischung aus Street-Punk, Ska und Dirty Reggae wird "Take The Power Back" alle alten Fans begeistern und ohne Frage neue Anhänger gewinnen. Als Digipak CD, LP klassisch schwarze (limitiert) oder zweifarbiges "Atomic" Vinyl erhältlich.

Kaum zu fassen - Gimp Fist sind nun schon seit 21 Jahren eine feste Größen der britischen Oi!-Szene. Das Trio hat sich als eine der angesehensten Street-Punk-Bands Großbritanniens etabliert, mit einem einzigartigen Songwriting-Stil fernab der üblichen Klischees, treffsicherem Gespür für mitreißende Songs und eigenem Sound, in Europa ebenso beliebt wie in Großbritannien. Und ihre Street-Punk-Hymnen füllen jedes Jahr den Empress Ballroom mit einer Kapazität von 3.000 Plätzen beim Rebellion Festival in Blackpool. Die Band stammt ursprünglich aus Bishop Auckland, County Durham, und hat seit ihren Anfängen im Jahr 2005 elf Alben, ein halbes Dutzend Singles und drei EPs veröffentlicht. Auch wenn es nicht immer leicht ist auch Anerkennung bei der größtenteils auf London fokussierten Musikpresse zu finden, haben sie doch eine treue Anhängerschaft in UK und ganz Europa gewonnen und sind vor allem dem Publikum des Rebellion Festivals bekannt, wo sie seit 2008 jedes Jahr auftreten. Zwei Jahre nach dem letzten Album "Losing Streak" erscheint nun das 12. Album "Take the Power Back", produziert von Jamie Wilson, mit insgesamt 15 brandneuen Titeln. "Wir haben das Gefühl, dass wir auf diesem Album viele unserer Einflüsse und Stile miteinander verschmolzen haben, ohne dabei das typische Gimp-Fist-Feeling zu verlieren", sagt Sänger und Gitarrist Jonny. Von der Auseinandersetzung mit der aktuellen Wirtschaftslage und den Kämpfen der Arbeiterklasse in Songs wie "Give Me A Reason" bis hin zu den angstgeladenen, an die frühen Rancid erinnernden Tiraden gegen Faschisten und Tyrannen in "Waiting For The Punchline". Mit einer Mischung aus Street-Punk, Ska und Dirty Reggae wird "Take The Power Back" alle alten Fans begeistern und ohne Frage neue Anhänger gewinnen. Als Digipak CD, LP klassisch schwarze (limitiert) oder zweifarbiges "Atomic" Vinyl erhältlich.

repressed !

It's been a busy 3 years since Danny Berman aka Red Rack'em released on his own Bergerac imprint.

Since then he's toured relentlessly, released a whole album of live music based disco/punk funk for Sonar Kollektiv as Hot Coins, managed to completely update his biggest track 'In Love Again' to make it a hit the second time around plus released spaced out, wonky party smashers on Wolf Music, Phonica, City Fly and Telefonplan.

While all this was going on Bergerac was largely on ice but now Berman is turning his energy back to the label with a vengeance.
Wonky Bassline Disco Banger is accurately titled. An uplifting intro breaks down into a slamming disco house number and just when you think you know what's going on...
Then the trademark Red Rack'em wonky bass drops in. 150% Guaranteed party smasher... Jazzy House Extension is super vintage Red Rack'em from around 2004 - something for the jazz heads out there - cracked out piano and far too loud double bass come together to birth a euphoric yet banging snapshot of a producer learning his chops. Destined is a slightly demented leftfield house number featuring mangled, pitch shifting fretless bass and vocals samples discussing someone's destiny.
A woozy end to the EP.

Desert planet house from inner spaces - the mountain people‘s premiere full EP outside their own imprint. Featuring sand shattering subbasses alongside vintage stabs, wobbling chords and otherworldly chanting. Something you will not dig up easily from your discogs collection and which will further enchant the children of the light.
Play or face the Gom Jabbar.

Eliza Rose joins the ‘FABRICLIVE. presents’ series with a release that reflects the breadth of her creative journey in club music culture. A DJ, vocalist and songwriter from London’s vibrant underground, she has become one of the UK’s most compelling voices, equally at home in the DJ booth, on record, and crafting music that resonates across dancefloors and charts alike.

To accompany the release, fabric presents commissioned a bespoke, hand made tapestry depicting Eliza Rose and her friends at Carnival, a celebration of community, heritage and collective joy that runs through her story and the culture she represents. Rich in texture and detail, the piece transforms a living moment into something timeless and craft led. Eliza is pictured alongside the tapestry in an iconic hot pink tracksuit, set within a council estate garden that feels instantly recognisable as a portrait of London life. Surrounded by nostalgic children’s toys, from a rocking unicorn to a plastic slide, the scene captures the everyday intimacy and character of the city’s estates, spaces where music, family and friendship intertwine.

The contrast between the ornate woven artwork and the raw familiarity of the setting creates a striking visual metaphor, bridging past and present, celebration and reality. Together, the imagery reflects the spirit of the release itself: rooted in community, shaped by lived experience and grounded in the environments that continue to inform Eliza’s creative world.

Acid Acid Session Vol. 4 continues the steady development of the series toward a clearer Acid House direction.

Paul Renard from the Netherlands, behind Deep Acid Records, adds his 303-driven Acid House approach to the Acid Session series.

The flip side features Acidskool, delivering their UK Acid House sound, raw in groove and hardware-driven.

Late 80s & 90s energy, reworked for today's club floor.

Cogitat is the debut album by Nils Edte and the first double-vinyl release on PREDAWN Records. Across ten tracks, it blends classic deep techno with hypnotic, tribal rhythms, dub textures, and ambient, experimental elements. Beginning with the ambient Semen and concluding with the nocturnal Nox, the album unfolds as a journey through abstraction, nature, and artistic evolution-unified by a clear sonic vision and a mature, cohesive sound.

Building momentum around his moody, alchemical breakthroughs in the techno-bass laboratory, Buckley lands on Sneaker Social Club with a punchy quadruplex that marks him out as an innovative talent in the next generation of low end producers.

Manchester-based Elias Buckley first came to light with a lathe-cut drop on ec2a, followed up over the past two years with outings on Well Street, Dimeshift and S.P.E.C. That sets the tone for exploratory zone Buckley is operating in, and he maintains a forward-thinking slant to his physical, dynamic club weapons on this latest EP.

'City Dweller' rests on a creeping mid tempo 4/4 pulse, all the better to carry slithering layers of sound design that slide off the undulating sub bass throb. Minimalism is the order of the day here, but his approach is shot through with gully zaps and rude swagger that makes this a positively UK- centric affair. 'Carl's Floorboard' makes a sizeable swerve towards brutalist grime mutation, letting the space in the mix swallow you whole around the dislocated bass womps and whipcrack snares.

On the B side, 'Gawy' hits the mark squarely between techno propulsion and soundsystem swagger, plying slippery sound design to the bass blasts and working an offbeat groove designed for maximum lock-in. Making sure there are no doubts about his range, Buckley saves one of the deadliest joints on the record for the closer, whipping up a wide-as-you-like UKG bounce on 'M.O.B.S.O.T.' while maintaining the lean and mean sound that binds the EPs any angles together.

With its fourteenth release, Barro continues cementing its identity as a techno label unafraid to take chances on fresh voices. This latest offering features Ari Jani —a multifaceted young producer whose unsettling soundscapes pull from a wide spectrum of influences, from EBM's mechanical pulse to harsh noise's abrasive textures.

Ari Jani's early work leaned toward rapid-fire, unrelenting techno, as heard on his SilentSøuls release. Beginning in 2022, his sound underwent a metamorphosis, shifting toward decelerated tempos laden with heavy atmospheres and industrial undertones—a transformation clearly audible in Reject Humanity, Embrace Nonexistence, his EP for Valhalla Records.

His Mass Memory project sees Ari navigating different sonic territories, centering on noise, ambience, and melody, yet never losing sight of the club's pulsing heart.

Includes Groof remix.

Mit The Techno Session setzt die renommierte Electronic Music Anthology-Reihe aus dem Hause Wagram ihre Reise durch die wichtigsten Strömungen elektronischer Musik fort. Nach House- und Deep-House-Ausgaben widmet sich diese neue Edition nun konsequent dem Techno - in all seinen hypnotischen, treibenden und zeitlosen Facetten. Die Auswahl stammt von FG Radio, einer der angesehensten Institutionen für elektronische Musik in Frankreich und seit Jahrzehnten eng mit der internationalen Club-Kultur verbunden. Die Compilation versammelt prägende Künstler und Produzenten, die Techno von seinen frühen, funktionalen Wurzeln bis zu modernen, melodischen und atmosphärischen Ausprägungen definieren. Pulsierende Grooves, repetitive Strukturen, reduzierte Eleganz und eine klare Fokussierung auf den Dancefloor stehen im Mittelpunkt dieser sorgfältig kuratierten Zusammenstellung. The Techno Session richtet sich gleichermaßen an DJs, Sammler und Liebhaber elektronischer Musik, die Techno nicht als kurzlebigen Trend, sondern als eigenständige, langlebige Musiksprache verstehen. Eine hochwertige Anthologie, die die Essenz des Genres einfängt - kompromisslos, fokussiert und cluberprobt.

Die renommierte Electronic Music Anthology-Reihe von Wagram kehrt mit einem neuen Kapitel zurück - diesmal voll und ganz gewidmet den feinsten Perlen des Deep House. Kuratiert vom französischen Electronic-Aushängeschild FG Radio, präsentiert The Deep House Session eine sorgfältige Auswahl zeitloser Tracks, die die stilistische Breite und emotionale Tiefe dieses Genres perfekt einfangen. Die Compilation vereint international gefeierte Künstler wie Ben Böhmer, nTO, Bonobo, Solomun, Fritz Kalkbrenner, Kaytranada, Masters at Work, Dennis Ferrer, DJ Deep, St Germain, Môme und Soha - Namen, die sowohl im Club-Kontext als auch über Genregrenzen hinweg einen exzellenten Ruf genießen. Ob atmosphärische Synth-Texturen, organische Grooves, warme Basslinien oder hypnotische Melodien: Diese Edition destilliert alles, was Deep House seit Jahrzehnten zu einer der elegantesten und gefühlvollsten Spielarten elektronischer Musik macht. The Deep House Session ist eine hochwertige Sammlung für Liebhaber, DJs, Sammler und alle, die elektronische Musik zwischen Wärme, Groove und subtiler Eleganz schätzen.

Joe Hisaishis neues Album wurde Live in Tokyo in der renommierten Suntory Hall am 31. Juli 2024
aufgenommen. Zu hören ist die japanische Erstaufführung von „The Desert Music“ von Steve Reich,
einem Freund und Kollegen Hisaishis sowie „The End of the World“, ein eigenes Werk des japanischen
Komponisten. Aufgeführt wurden die Stücke vom Future Orchestra Classics unter der Leitung des Maestros.
Dieses Orchester wurde von Hisaishi gegründet, um sein Interesse an klassischer Musik mit anderen zu teilen.
Es ist ein Orchester junger Musiker, das für seine lebendigen, ausdrucksstarken Interpretationen sowohl des
Kernrepertoires als auch zeitgenössischer Werke bekannt ist. Die Vocalpartien wurden vom Philharmonic
Chorus of Tokyo und, in „The End of the World“, von der Sopranistin Ella Taylor gesungen

The wonderfully unrelenting Instinct label from Burnski welcomes Gabriel Munoz for a brilliant five-tracker. Munoz is an 18-year-old from the Netherlands who is fast turning heads with his well-informed and fresh style and the garage prodigy opens up here with 'Arisen', a fast-paced and silky deep garage house cruiser with starry-eyed synth work. 'Pulse Sector' is another deft cut with neat 90s stabs buried deep in dusty drum rotations and balmy pads. There is more sleaze to 'Tell Me Something', 'Ghost' is all about the throbbing bassline and 'Movement' brings some more playful early UKG motifs and fat drums and bass. Fresh tackle from a fresh talent.

Zum ersten Mal seit Jahrzehnten erscheinen DJ Shadows legendäre Mo’Wax-Singles wieder offiziell – in einem umfassenden 8-teiligen Vinyl-Set, das mehrere Stunden bahnbrechender Musik enthält.
Die Aufnahmen wurden in den Abbey Road Studios von Miles Showell halbspeed-remastered und klingen so klar und kraftvoll wie nie zuvor. Die Box enthält zahlreiche bisher unveröffentlichte Mixe und Edits sowie eine exklusive Bonus-LP mit den ursprünglichen Demos von vier Tracks – ein einzigartiger Einblick in die Entstehungsgeschichte des Shadow-Sounds.
Abgerundet wird das Set durch neue Fotografien von Brian Cross (B+), DJ Shadows langjährigem visuellen Wegbegleiter.
Ein essenzielles Sammlerstück für Fans, Vinyl-Liebhaber und alle, die die Wurzeln moderner Beat-Kultur feiern wollen.

"This box wasn’t made for the casual listener,it was made with the hardcore fan in mind. I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was
made with this philosophy firmly in mind. I had fun locating and resurrecting these songs, some of which still feel close to my consciousness as though they were made yesterday.”
-DJ Shadow

The Bait label is back with more stylish deep dubstep swagger, this time from various artists who know how to crank up the low end pressure. Eva Loveless opens up with 'Juniper red' which harks back to classic Techtonic sounds where techno and bass come together for front foot forward momentum. Slimy Ape's 'Guro' is a hefty stepper with dubby undertones and plenty of open space for the tape hiss to hiss and the conscious vocals to drift in. Furtive's 'Stormlight' is ice cold and minimal, with skeletal rhythms punctuated with clacking hits and doused in bass. Last of all, Buckley's 'Introspective' is a twitchy broken beat with classic dub techno chords and yelped vocals injecting some fragmented soul.

Wewantsounds is delighted to continue its extensive reissue program of Meiko Kaji"s early discography, originally released by Teichiku Records in Japan between 1972 and 1974. The Quentin Tarantino muse-famous for her starring roles in Lady Snowblood and Stray Cat Rock-was also a gifted singer. Otoko Onna Kokoro No Aika is another collection of superb cinematic songs featuring Kaji"s signature mix of Japanese Pop and Groove, backed by lush, atmospheric orchestrations. This includes her rendition of "Tokyo Nagare Mono," the theme song for Seijun Suzuki"s cult 1966 film Tokyo Drifter. This reissue features the original artwork, an OBI strip, and a four-page insert with new liner notes by Hashim Kotaro Bharoocha, who interviewed Meiko Kaji for the occasion.

The Sampler compiles artists from the Indulgence roster, all with one thing in mind... to jack it and then track it. TIP!

Die hochgeschätzten Euro-Metal-Pioniere Oz wurden ursprünglich 1977 in der kleinen finnischen Stadt Nakilla gegründet. Die Band bestand aus Mark Ruffneck (bürgerlicher Name Pekka Mark) am Schlagzeug, Sänger Ape De Martini (Eero Hämäläinen), Bassist Tauno Vajavaara sowie Kario Elo an der Gitarre.

Fünf Jahre nach ihrer Gründung legten Oz ihr Debütalbum vor. Mit Krachern wie “Saturday Night”, “Capricorn Man” oder dem schlüpfrigen “Second-Hand Lady” avancierten Oz schnell zur HM-Band Nummer eins in Skandinavien.

In der Folge zog man nach Stockholm um, wo 1983 der gefeierte Zweitling »Fire In The Brain« entstand. Die Platte enthielt höchst energetische Heavy-Metal-Hymnen wie “Fortune”, “Megalomaniac” oder “Gambler”. Der kanadische Journalist Martin Popoff verteilte in seinem »Collector’s Guide To Heavy Metal« 9 von 10 Punkten und schrieb: »Fire In The Brain« ist eine düstere, fast depressiv wirkende Platte, die den Hörer wie ein Güterzug trifft. Es ist ein sehr europäisch klingendes Werk – vom apokalyptisch anmutenden ‘Searchlights’ über das zähflüssige ‘Black Candles’ bis hin zum gewaltigen Titelsong werden absolut keine Gefangenen genommen.“

High Roller Records, silver vinyl, ltd 450, 425gsm heavy cardboard cover with 5mm spine, lyric sheet, 12 page booklet, poster

Sounds of Sirius Music unveils SOSNZ011 – Eye of Deva, a release exploring perception, truth, and higher awareness through deep frequencies.

The Eye symbolizes seeing beyond the surface.
Deva, rooted in Sanskrit, represents divine light and elevated consciousness.

Together, Eye of Deva becomes the vision of the divine — awareness beyond separation.

A-side by Fedo, remixed by Mihai Pol.
B-side by PRT Stacho, remixed by Last Pines.

A release shaped by close friends of Sounds of Sirius.

2026 Repress

Marking the anniversary of three decades of career, Dopplereffekt debuts on Tresor Records with Metasymmetry, arriving 12 December 2025. This latest release finds members Rudolf Klorzeiger and To-Nhan in deep inquiry in sound, contemplating structure and pattern in physics and nature resulting in a harmonious audio tessellation.
Metasymmetry itself relates to a kind of second-order reality found not in the structures of life but in the rules that govern these structures; that order exists not only in things but in the relationships among systems of order. It is a structure of structures, a logic of laws, an abstract unity embedded in the act of transformation itself.
Accordingly, the four-track EP reflects this duality. Each side opens with a piece of electronic music at its most precise and immovable: defined, kinetic, architectural. This is followed by a second composition that dissolves into a weightless, atmospheric counter-form.
The shift evokes a higher symmetry: an alignment not of parts, but of principles; a sonic model of the universe’s hidden invariance.
Metasymmetry also echoes across Dopplereffekt’s extended sonic continuum; this stands as the first offering on Tresor under the Dopplereffekt name despite an association with the label and club going back to the start. In this, it becomes the source of an echo that reverberates backwards through time; its own reflection: