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,Fragments" ist das Debütalbum von Billy Fuller, Mitbegründer von Beak>. Obwohl es sich um ein Soloalbum handelt, ist es kein Soloalbum im herkömmlichen Sinne, das die Gedanken und Gefühle eines Künstlers während eines bestimmten Zeitraums widerspiegelt. Es ist ein Album, das einen längeren Zeitraum umfasst, da es Fragmente von Billys Schaffen in seinem Heimstudio aus den letzten Jahren zusammenfasst. Beim Anhören entsteht der Eindruck von Kunst, die manchmal eine bestimmte Vision verfolgt und manchmal einfach nur das Ergebnis von jemandem ist, der den Schaffensprozess im Moment genießt. Während der Pause von Beak> Anfang 2025 hat Billy seine gesammelten Kompositionen erneut angehört und festgestellt, dass sie einen gemeinsamen roten Faden und eine einheitliche Atmosphäre aufweisen. Jeder einzelne Track auf diesem Album wurde von Billy allein geschaffen, und seine Persönlichkeit zieht sich wie ein roter Faden durch die 16 Tracks. Er vergleicht den Prozess der Zusammenstellung der Tracks mit dem Erstellen einer Kassettenkompilation für einen Freund, als er noch ein Kind war. Fragments ist stimmungsvoll, immersiv und völlig ungebunden. Auf dem gesamten Album spielt kosmisch angehauchte, hauntologische Electronica frei mit Melodien und findet emotionale Resonanz für unsere unvorhersehbaren Zeiten. Neu-artige Wiederholungen und motorische Grooves pulsieren unter verzerrten Electro-Texturen, und gelegentliche Spoken-Word-Passagen driften wie Übertragungen aus einer unbekannten Sendung herein und wieder hinaus. Gelegentliche Einblendungen psychedelischer Prog-Gitarren durchbrechen die dunstige Atmosphäre und bringen den Sound weiter in Richtung Fullers eigener Art von hypnagogischem Pop, der seltsam und doch zutiefst menschlich ist. ,Fragments" ist kein Album über Singles oder Trends. Es ist Musik aus Liebe zum Musikmachen, von einem Musiker, der seit über 25 Jahren ununterbrochen neue Musik produziert und veröffentlicht. Es ist ein selbstloser Triumph der musikalischen Freiheit. Billy Fuller ist vor allem als Gründungsmitglied, Songwriter und Bassist der Band Beak> bekannt. In den letzten 16 Jahren haben er und seine Bandkollegen vier Alben, zahlreiche Einzel-Singles, EPs und Soundtracks veröffentlicht, wobei Fullers Bass stets die treibende Kraft in ihren Kompositionen war und Beak> seinen charakteristischen Sound verlieh, der wie immer auf dem Bass aufbaut. Fuller hat im Laufe der Zeit auch an vielen anderen Projekten mitgewirkt. Im Jahr 2003 begann er seine 17-jährige Tätigkeit als Bassist von Robert Plant, spielte Bass auf dem Album ,Heligoland" von Massive Attack, wirkte an vier Alben von Baxter Dury mit und arbeitete außerdem mit Alicia Keys, Billy Nomates, Rachid Taha, Anika, Lucrecia Dalt, Tottenham Hotspur FC und vielen anderen zusammen.

Sourced from electrifying live performances across October 10–12, 1968, this collection showcases Hendrix at peak creativity, delivering towering versions of his most iconic songs alongside extended improvisations that reveal new dimensions of his musicianship. From the blistering intensity of “Fire” to the soulful sweep of “Little Wing” and the psychedelic charge of “Are You Experienced?”, this curated single‑LP set offers a powerful snapshot of Hendrix in his prime.

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

As a torchbearer of gritty lyricism and unapologetic authenticity, Conway The Machine takes the helm to introduce the world to the burgeoning talents that make up the Drumwork roster, a powerhouse assembly of artists ready to reshape the landscape of rap music.

At the forefront of the album stands Conway The Machine, delivering blistering verses and commanding attention with his trademark grit and authenticity. But "Drumwork Collective" is more than just a solo endeavor; it's a collaborative effort featuring guest appearances by Rome Streetz, Benny The Butcher, 38 Spesh, and others. Each artist brings their unique perspective to the table, adding layers of depth and complexity to the project.

Behind the boards, producers like Beat Butcha, Graymatter, Trizzy Williams, and more craft a sonic landscape that's as gritty as it is innovative. From soulful samples to hard-hitting drums, the production on this compilation sets the stage for the lyrical onslaught that follows, blending traditional boom-bap aesthetics with a modern edge. Together, these elements form a cohesive tapestry that captures the essence of hip-hop's underground renaissance, proving that the beat truly does strike back.

Talulah’s Tape is the debut offering from magnetic Midwest-jangle collective Good Flying Birds. Across a patchwork mixtape of stripped-down home recordings that span the independent-guitar spectrum, the band delivers colorful, intricate pop songs perched between the immediacy of DIY punk and the intimate sweetness of twee. Breakbeats, memes, and noise glue everything together, making the album feel as chronically online as it is timeless.

Originally released on cassette in January 2025 by Midwest-punk legend Martin Meyers’s Rotten Apple label, the tape sold more than 300 copies in under a month and quickly became an out-of-print and coveted item. Meyers called it “certified catnip for popheads.” Now, with a refined track list and a fresh master from Greg Obis, Talulah’s Tape returns on LP and CD via Carpark and Smoking Room in October 2025.

While production and approach vary, a through-line of sensitive self-contemplation rests on bright, scrappy guitars and hyperactive melodic bass. Opener “Down on Me” rides a buoyant bass line while jangling guitars frame reflections on overcoming trauma: “I see you in the mirror every time I cry / I hear your voice every time I try.” Next, the guitars trade twinkling counter-melodies on “I Care for You,” pairing sugary, lovestruck lyrics with effervescent strums: “You catch me when I fall / You build me up so tall.”

The rosy grin occasionally twists into a wicked smirk. “Dynamic” warns, “You used to paint the face, but now you’re just the clown,” while “Glass” asks, “Is it lonely at the top when everyone follows the trend, and you hold the pen?” Both tracks brim with sparkling guitar interplay. By the closing, nearly five-minute “Last Straw,” Good Flying Birds stand far beyond conventional indie-pop or 4-track punk, unveiling a roller-coaster of unpredictable changes, vocal harmonies, and instrumental cross-talk.

Altogether, Talulah’s Tape is a pastel-yellow, candy-coated shell filled with thoughtful juxtapositions and melodic experiments. Standing on the same ground as idiosyncratic songwriters like Connie Converse and Daniel Johnston, Good Flying Birds find sweetness in sadness, tear stains on a colorful flower-print couch. Simultaneously, it’s packed with the scratchy guitars and vibrant rhythms of Scottish guitar groups like The Pastels, Orange Juice, and Josef K. It’s a tremendous opening statement from a band just getting started.

Salix is a bold new departure for modular synthesist Loula Yorke, seen here using an antique reed organ to explore the ancient roots of willow trees in magic, myth and medicine, as well as inviting another musician into her recording studio for the first time, clarinettist Charlotte Jolly.

The EP forms a sonic archive of a singular instrument: an antique free reed organ left behind by a previous encumbent of Asylum Studios, (the artists' co-operative in Suffolk where Yorke's Truxalis labelmate and life collaborator, Seiche, has a studio space). The organ is in poor condition and fascinatingly, painfully detuned. Yorke's recordings bring out its host of unusual quirks exacerbated by age and neglect: the powerful rhythmic creaking of the wooden treadles; the bone-shaking resonance emanating from its body at specific pitches; unexpected exclamations of harmonic collision from within the carcass redolent of a human voice; the piercing, shrieking whistles of broken reeds, and the powerful timbres unlocked via Yorke's experiments with various combinations of stops.

The three tracks that form Salix are inspired by a local weeping willow tree, a constant companion photographed over the course of a year. Boughs caught in a gyre. A maiden in mourning. Branches that gesture in the wrong direction. A tree turned upside down. A hand-woven willow basket, an old technology to gather and store. The journey of a lovelorn bard through the underworld, a bundle of willow under one arm for protection.

For the opening track, The Carrier Bag Theory of Fiction, Yorke recorded herself playing a simple unaccompanied improvisation on the organ, the only ornamentation being the processed sounds of the keys being struck and returning to their positions.

For Bundle of Styx, a spell of protection is cast and then broken. Yorke invited virtuoso clarinettist Charlotte Jolly into the studio to test combining the breathy textures of both brass and natural reeds, the instruments uniting and obsuring each other in turn during this one-take improvisation. The organ's unpredictable sharpened tunings take centre stage here, with Jolly using them as a point of departure to conjure a set of peerless harmonic improvisations live in the moment. Throughout the improvisation, Yorke, a self-taught musician, unpracticed on the organ, supports and challenges, freely admitting that she's not always sure what effect her decisions to move up and down the keyboard or pull out certain stops will have. Jolly's genius lies in her ability to meet and build on every uncertain pitch thrown her way, saying of the experience, "I love that Loula isn't classically trained, I can't predict at all what she's about to do."

For the final track, With the Red Dawn, Yorke has come up with another unique combination of textures, this time bringing her own specialism in modular synthesis to the fore. A ten-minute reed organ drone characterised with ever-shifting bass swells and overtones is layered with tuned sines, often shudderingly wave-folded, that ebb and flow both in intensity and harmonic colour according to the duty cycles of eight interrelated LFOs. These recordings are collaged with Yorke's singing voice and a langorous, ascending sequence across two octaves on Jolly's clarinet, all arranged to form a cohesive whole far greater than the sum of its parts. Smatterings of untuned percussion and a fragment of a conversation between the duo left in the final mix cements Yorke's unprecious DIY aesthetic into the release.

At its heart, Salix is like watching the wind in the willows; hundreds of thousands of identical tiny leaves moving in confluence on its branches; at once one thing and many things; moment-to-moment our perception makes out different individuals parts within this expanse of texture, before sinking back into the whole.

“Better Days” is a strikingly beautiful anthem built around the Carltons’ breathtaking harmonies and a patient, rolling,
minimalist Reggae rhythm made of syncopated drums and a gentle horn section in background, hence serving the
strong vocal delivery even further. Without forgetting the equally beautiful lyrics delivering a powerful message of
resilience, optimism and faith. Beautiful harmonies, minimalist rhythm and uplifting lyrics all together make
“Better Days” one of the Shoes most enduring performances and a Reggae masterpiece that invites to both reflection and musical delight...
 

“Station Underground News” was in fact the A track on the original 1973 single with Lee Perry credited as “King Koba”.
It is a subterranean journey through Perry’s imagination. Built from a skeletal rhythm track, the piece unfolds as a series of
musical interventions: echoing vocals, fractured percussion, Funky manipulations and more.
This little know tracks capture perfectly Perry’s trademark blend of Jamaican musical textures, off kilter rhythms,
experimentations and unbridled whimsy and creativity…

Enjoy!

A 2024 remaster of Himalayan, the third studio album from UK rock group Band of Skulls, originally released in 2014 and produced by Nick Launay, highlights tracks like Asleep at the Wheel and Hoochie Coochie, showcasing the band's signature fusion of blues, indie, and hard rock influences. The album originally arrived following a documentary detailing their rise to fame, solidifying Band of Skulls as one of the most compelling modern rock acts.

Longtime friend of the label Eraserhead returns after over a decade away from producing music due to his surreal MS Paint work as 'Jim'll Paint It' becoming an unexpected cultural phenomenon. With his debut full-length, 'Violence', Eraserhead presents a truly eclectic electronic LP featuring collaborations with established producers such as Om Unit, Enduser, and Brain Rays, as well as the vocal talents of Nadia Rose, Beans (of Antipop Consortium), and Cadence Weapon. An album held together by theme and tone rather than style or tempo, 'Violence' is the culmination of a bitter wave of inspiration, initially conceived in the wake of a personal tragedy that quickly grew into a broader polemic about the state of the world.

Originally linking up with Love Love in its breakcore netlabel infancy with his refined, breaks-heavy breakcore/gabba, Eraserhead's flair for tight, intricate productions was evident in his finely tuned tracks of controlled chaos. This time around, his work is a darker, more expansive evolution of his sound, with the scale upsized and the stylistic scope massively broadened, remaining unfaithful to any single genre, but with firm nods to Breakcore, Grime, Drum & Bass, Techno, Rave, Dubstep, and Footwork, all chewed up with a hard industrial edge and cinematically framed by a backdrop of apocalyptic synths.

Opening with the cold tech-noir of 'Shining Brainless Beacon' to set the tone, the album quickly locks in with the blistering spoken-word headrush of 'Hurricane With Teeth' alongside rapper Beans, before Om Unit lends his expertise on the sharp groove and clinical bass blasts of 'Operation Hardtack'. The album shifts and morphs constantly throughout the runtime, moving from the raw and urgent acid techno of 'Crowd Control' to the crunching military march of the Gore Tech collaboration 'No More Worlds' and the tribal sci-fi footwork of the Brain Rays collaboration 'Night Visions'. 'Monolith' provides a final burst of catharsis, channelling Underworld by way of Nine Inch Nails, complete with writhing screams from Amée Chanter of sludge-punk-noise-rock duo Human Leather, before the heart of the album is laid bare with the painfully bleak closing dirge of 'Animal'. In its final moments, 'Violence' leaves the listener suspended between devastation and awe - an unflinching portrait of an uncaring world.

Crave Tapes is thrilled to announce the first vinyl release on the label which will be the second album from Frankfurt's underground post-punk/dark wave band Babes of Enola Grey, Krieg und Wohlstand.
Krieg und Wohlstand sees Babes of Enola Grey follow the path of their 2021 debut, Anfang vom Ende, and take a step further into the realm of melancholic and disillusioned soundscapes. While keeping a certain retro character to the songs, Deborah Vision, Salvador Islero and Fabian van Castorp focus on quite contemporary themes, which some might call the most German obsessions:
War and prosperity.
But this is not the only reference to the band's heritage. Sometimes more, sometimes less, there are musical allusions to various German influences and contributions to (modern) music and music history. While Doppelt Frei is a nod to EBM and bands like DAF or the early Die Krupps and Wie auf Schienen as well as Die Heuschrecken pay homage to German düster punk bands like Fliehende Stürme or EA80, Panik and the title track Krieg und Wohlstand refer to the romantic German art song tradition of the 19th century (not to mention the obvious hint at a certain successful German Schlager in Die Kugeln und das Herz).
This makes Krieg und Wohlstand not only a worthy epigone of the band's debut, but also takes the album and the artistic approach to another level.
Commenting on the chosen format (12" vinyl), the band members said: "It was clear to us that we wanted to release this album on vinyl. When you look atGerman history, war and prosperity have to be seen as two sides of the same medal, or in this case of a record".

Ltd edition - Random Coloured Vinyl..

“Eternal Almost” is a collaborative album by Japanese musician Tomo Katsurada and Estonian composer Misha Panfilov. Born from the simple joy of songwriting and creative exchange, Tomo and Misha had long admired each other’s music from afar.

When the opportunity to collaborate finally arrived, it felt completely natural, and by the time the album was finished, it almost seemed as though the two had known each other always.

United by a shared sense of humour and musical curiosity, Tomo and Misha poured a raw, honest energy into these songs — one shaped by their intuitive rapport. In an increasingly artificial world, “Eternal Almost” subtly celebrates the qualities that make music feel most alive.

Amid the weight of our current times, the pair hope this album brings listeners a sense of lightness, joy, and of course—a gently surreal journey from beginning to end.

Für seinen monumentalen „Ring“-Zyklus versammelte Karajan ein Weltklasse-Ensemble von Sängerinnen
und Sängern, die über einen neutralen Stimmklang verfügten und eine klare Deklamation des Textes boten.
Seine Berliner Philharmoniker waren mehr als fähig, dieser Herausforderung gerecht zu werden. Karajans
„Ring“-Zyklus hebt sich von anderen Einspielungen durch seinen geradezu überirdischen Ansatz ab, der auf
Schönheit, Lyrik und Struktur ausgerichtet ist.
Dieses außergewöhnliche Aufnahmeprojekt erscheint nun in der Original Source Series für höchsten audiophilen Klang; erstmals verwendet OSS als Quelle das originale Stereo-Masterband, ein Zweispur-Tonband.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Mehrspurbänder mit eigens für
die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und
geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere
Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Veröffentlicht auf 180g-Vinyl und präsentiert in einer 3-LP-Box-Edition mit den originalen Covern und
Liedtexten, umfasst diese limitierte und nummerierte Ausgabe zusätzliche Fotos sowie Faksimiles der Aufnahmeprotokolle und Bandkartons.

Acclaimed songwriter Maria Taylor, best known for her work with Azure Ray, returns with her forthcoming album ‘Story’s End’, a hushed,
cinematic collection that unfolds like an intimate narrative of loss, healing and quiet transformation.
Featuring contributions from Mike Mogis, Conor Oberst, Nate Walcott and Ben Brodin, the album pairs Taylor’s intimate vocals with widescreen strings, bell-like piano and atmospheric arrangements

Stacey Kent is an American jazz singer in the mould of the greats, with a legion of fans, a host of honors and awards including a Grammy nomination, album sales in excess of 2 million and more than one billion streams, and Platinum, Double-Gold and Gold-selling albums that have reached a series of chart-topping positions.

Stacey, a comparative literature graduate with a passion for music, travelled to Europe to further her studies after receiving her degree from Sarah Lawrence College in NY. Through a series of twists of fate, she found herself in London where she enrolled in a graduate music program at the Guildhall School of Music and Drama, where she met her future husband and musical partner, Jim Tomlinson.

Kent's musical journey began with childhood piano lessons. A keen ear and true voice lead her to search out opportunities to express her love of music. However, nothing suggested the shift from the academic path to the one that propelled her to international recognition as one of the foremost jazz singers of her generation. With a catalogue of 13 studio albums, including the Platinum selling, Grammy-nominated Breakfast On The Morning Tram (Blue Note/EMI 2007) and an impressive list of collaborations, Stacey has graced the stages of nearly 60 countries over the course of her career.

Her worldwide fan base is testimony to her ability to express the emotional heart of her songs with delicately nuanced interpretations that transcend borders and defy categorization. Her unique multi-lingual repertoire includes standards, chanson, Bossa Nova, and originals written by Jim Tomlinson, her saxophonist/producer/composer/arranger husband in collaboration with the Nobel Prize-winning author, Kazuo Ishiguro with whom they have worked since 2006. She has also recorded with Brazilian legends, Marcos Valle, Roberto Menescal and Danilo Caymmi, and the celebrated French string quartet, the Quatuor Ébène.

Stacey's last studio album, Summer Me, Winter Me, was released in November 2023 on Naïve Records. A collection of fans' requests from her as yet unrecorded concert repertoire, Summer Me, Winter Me entered the French jazz charts at number 1 and has quickly established itself as a new highlight in her discography. She now returns with A Time For Love.

There’s an alternate reality where everyone makes a living wage and the cleanest buses you’ve ever seen arrive every other minute. Where the most intense songs are about confessing your love to a crush at the apple orchard, and where gentle feelings and chaotic energy are inseparable best friends. This is the timeline where Cootie Catcher is right at home. This Toronto based four-piece exudes both vulnerability and unbridled excitement, creating a sound that hypercharges the open-hearted tenderness of twee pop with spiraling synths and giddy electronics. New album Something We All Got is the clearest and most vibrant reading of Cootie Catcher’s vision yet, with songs of sweetness, nervousness, and expectancy that beam out unguarded.
After releasing music made primarily in basement recording environments, Something We All Got is the band’s first flirtation with studio recording. The edges are still sharp, however, with some parts assembled from time-honored lo-fi methods and fun, personally-sourced samples seeping into the production. The sound is explosive and upbeat, with euphoric guitars, bubbly synth lines, speedy drums both played and programmed, and all other manner of sound constantly colliding. Cootie Catcher has three songwriters, Sophia Chavez, Anita Fowl, and Nolan Jakupovski, all of whom have distinctive voices but still manage to overlap in their writing on shared concerns like navigating the lines of romantic and platonic relationships, their city’s social scenes, and struggles in both the microcosmic experience of playing in a band and the zoomed-out challenges of living through late-stage capitalism.
Joy still touches every surface of Something We All Got. “Quarter Note Rock” bounces around the room in a fit of jangling guitar chords, scratched samples, and interplay between breakbeat loops and somersaulting live drums. It’s a blast of positivity even with lyrics about how disappointing it can be to meet your heroes. A smiling electro pop instrumental supports lyrics about having to step painfully away from an almost realized love on “Gingham Dress,” a song that subverts themes of domesticity as a backdrop for the dashed wilt of hopeless devotion.
Cootie Catcher rolls down hills and jumps through flaming hoops throughout Something We All Got without ever dumbing down the visceral emotions that drive these songs. There’s a palpable tension between the band’s exhilarating sonics and the raw, often uneasy sentiments expressed, but it’s an integral part of what makes them unique. Rather than hide behind the kind of calculated vagueness that plagues so much of the indie rock landscape in the time of cursed algorithms, Cootie Catcher runs full-speed toward every confusion and excitement, fearlessly direct and embracing the reality they’re in.

2026 black vinyl, 2022 Abbey Road remaster, original 2012 artwork! When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album 'World Music' - there was, and there still isn't, anyone else on earth quite like them. With their enticing mythology, music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. 'World Music', received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe. 'World Music' is brimming with tracks now seen as 'classic' Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of 'Disco Fever', the fuzz abuse of 'Goathead', the post-punk groove of 'Let it Bleed', the sing-along repetitive pop of 'Run to your Mama'... From the first note to the last, 'World Music' oozes with a sonic confidence rarely seen on a debut album. What Goat have is unique - they've managed to create a sound unrestrained by genre or any other boundaries. So if you haven't done so already, then it is now time you joined the Goat commune.

After a critically acclaimed trilogy of albums and a 10-year hiatus, Romain Turzi, the underground pope of uncompromising French music, returns to the helm to compose and produce his new opus “Drop!”. He is joined on vocals by his longtime friend Oliver Gage, whose autobiographical and melancholic writing brings to life an intimate and redemptive musical epic, woven with oblique pop songs and club tracks that reconcile punks and dancers.



An album of diverse influences, it draws on the masters of film music (Goblin, Angelo Badalamenti), the titans of electronic and techno music (808 State, Dopplereffekt), the hedonistic spirit of ’80s Brit rock (Happy Mondays, The Stone Roses), the finely crafted melodies of timeless folk singers (Woody Guthrie, Neil Young), and the sonic power of My Bloody Valentine or the productions of Andrew Weatherall.



A record born of friendship and fearless creative freedom, “Drop!” is an invitation to escape the heaviness of the present and brush against a form of utterly necessary ecstasy.

Mathias Kaden announces the ‘Three Decades’ LP on Rekids, releasing 3rd April 2026, with single ‘Fyutr’ featuring Zoë Xenia and a remix from the legendary Dennis Ferrer available now. His third full-length, following 2009’s ‘Studio 10’ on Vakant and 2015’s ‘Energetic’ on Freunden Am Tanzen, ‘Three Decades’ spans nine tracks and celebrates Kaden’s 30-year career as one of Germany’s most enduring House and Techno figures.

The ‘Three Decades' album opens with a title intro, in which Mathias Kaden expresses gratitude to those closest to him before moving into his signature deep, emotive House sound. Tracks like ‘Keep Balance’ set the tone with sub-heavy bass and crisp, driving drums, occasionally punctuated by vocal snippets, while ‘I Got You’ features Cassy for a high-energy, soulful dancefloor moment. Reminiscent of Kaden’s work as Mathimidori, the dubbiness of ‘Getting Closer’ sets the stage for ‘Inner Signal’, which leans into wiggy electro territory, before the second record shifts gears with ‘Next Wave’ and ‘Shelter’, returning to pacey, piano-fuelled rave energy.

‘Viral’ follows with tough drums and excellent stab work, before the album closes on ‘Fyutr’, Kaden’s collaboration with Zoë Xenia, already supported by Honey Dijon, DJ Deep, Laurent Garnier, and more. Active since the mid-90s, Mathias Kaden quickly became one of the artists at the forefront of Germany’s flourishing rave scene. He began releasing music in the early 2000s, first collaborating with Marek Hemmann on a series of EPs for Freude Am Tanzen, before establishing himself as a solo artist with more than two dozen EPs on labels including Desolat, Watergate Records, Pets Recordings, Diynamic, Ovum, and Cocoon. Since first appearing on Rekids in 2019 with the ‘Control Your Mind’ EP, Kaden has released multiple projects on the label and remains a regular contributor to its catalogue.

Alongside his own productions, he has remixed artists such as DJ Koze, KiNK, Monika Kruse, Trentemøller, and Sven Väth, while under his Mathimidori alias, he has explored more spacious territory with releases on Mule Musiq, Ornaments, and Freund der Familie, including an additional album, ‘Akebono’, on Echocord.

I wrote this album in prison. I went to the music room every week to play on their keyboards. I studied different styles of beat patterns and sound recording to be a recording engineer. I wanted to create this new sound, so I took go-go, hip-hop, house, and drum and bass to blend up a new pattern of beats with a DJ sway. So I rapped on it. I need a perfect mix sound so I used a reverb gate, small room because I was in a small room. I used my moms blankets to trap the sound waves in the room. I use a digital mic from radio shack and was rapping with a blanket over my head to trap the sound waves. I played my keys in F flat to deepen the tone. I put tom toms on it to fill the spaces with handclaps to have that snap. Then I put a reverb gate on every instrument to get the lo-fi audio sound. I mastered it with all knobs on zero. Equalizer on zero. I mastered my own sound by tweeking and listening with cheap headphones. So that's why I call myself Mix-0-Rap because I master my mix and DJ rap style with a touch go-go rapping. Thank you for supporting me and my music, I hope you enjoy this.

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

Horrorful Heights markiert ein beeindruckendes neues Kapitel im umfangreichen Werk von The Bevis Frond und zeigt die anhaltende Kreativität des Songwriters, Gitarristen und Frontmanns Nick Saloman, der nun in ein weiteres Jahrzehnt als Musiker startet. Seit langem als eine der markantesten Stimmen des britischen Underground-Rock etabliert, verfeinert Saloman weiterhin die Qualitäten der Band aus melodischer Psychedelia, drahtigen Gitarrenepen und Songwriter-Kunst. Einer der zugänglichsten Einstiege in die Bevis Frond Welt, welcher alle Stärken zu einem zusammenhängenden, lebendigen Ganzen vereint. Das Album bewegt sich fließend zwischen klirrendem Psych-Pop, schweren Gitarrenriffs und pastoralen Träumereien. Die Bandbreite des Albums ist groß, aber klar definiert. "Draining The Bad Blood" erinnert an den klassischen Bevis-Frond-Stil melodisch inspirierten Gitarrenpops der 60er Jahre, "Space Age Eyes", eine prägnante neunminütige Odyssee, verweist auf die transzendentalen Erkundungen des elektrischen Miles Davis der 70er Jahre. Der mit Sitar untermalte Titeltrack driftet durch rauchige Psychedelia mit mehrstimmigem Gesang und geschichteten Tablas - ein liebevolles Echo der Headshop-Mystik, mit der Saloman während der gesamten Bandgeschichte gespielt hat. An anderer Stelle verbindet "Mossback's Dream" lysergische Leads mit der treibenden Energie des amerikanischen Hardcore der 80er Jahre und schafft so einen Hybrid, der sowohl zeitlos als auch völlig eigenständig wirkt. Weitere Höhepunkte sind das von den Byrds beeinflusste "Buffaloed", das wirbelnde "Silver Insects" und "That's Your Lot", ein rasantes Feuerwerk melancholischer Euphorie und einer der unmittelbarsten Songs des Albums. Obwohl eklektisch anmutend, ist es ein fokussiertes Porträt von The Bevis Frond im Jahr 2025 - vital, melodisch und frei von Nostalgie. Saloman beschreibt die Sammlung ganz einfach: die besten Songs, die er in den letzten Jahren geschrieben hat, entstanden ohne Zwang und ganz instinktiv. Das Ergebnis ist ein Höhepunkt aus der Spätphase einer der stillsten einflussreichen Underground-Bands Großbritanniens.

But, in the summer of 2024, a personal tragedy changed everything. Michael and Lou lost their six-year-old granddaughter, Bebe, in the Southport attacks in July that year, and, as much as they tried to carry on and make a My Darling Clementine album, with the weight of so much sadness and grief bearing down on them, it just didn't feel the right thing to do. The tragic events of summer 2024 not only changed the music they were making and the songs they were writing, it also altered their outlook on life. Recognising that everyone's grief is individual even that of a husband and wife Michael and Lou needed to channel their suffering via their own individual creativity and in their own way, rather than in collaboration, so they worked on two solo albums. Michael's "Nothing Can Hurt Me Anymore" is the first of the two to be released.

An album the defies genre, it is simply his instinctive musical reaction to the events of summer 2024. Michael writes "To be honest, it was impossible to write about anything else. It overwhelmed everything. I hope I am now creatively exhausted on the subject, but I think it will affect my writing forever, just as indeed, the loss of Bebe will". It features eleven brand new MWK songs Partly recorded in rural Wales and partly in not so rural Sheffield, "Nothing Can Hurt Me Anymore"was produced by Michael, along with wunderkind Clovis Phillips, and the brilliant Colin Elliot, who also mixed the album.

It was recorded at Ardent Studio in Memphis featuring Kim Wilson, Jimmie Vaughan, Preston Hubbard and Fran Christina with Dave Edmunds on guitar and vocals, Chuck Leavell on keyboards plus the Memphis Horns adding their unique touch, leading one reviewer to describe it as "sweaty, grimy, bar-room rock 'n' soul". This re-issue is one of the eight (blue) vinyl editions scheduled for release in 2026 that represent the band's complete studio recordings with Jimmie Vaughan on guitar before he left to pursue a solo career. THE 1978 DOC POMUS SESSIONS / GIRLS GO WILD / WHAT'S THE WORD / BUTT ROCKIN' / T-BIRD RHYTHM / TUFF ENUFF / HOT NUMBER / POWERFUL STUFF. These albums are also available in one collection as a CD set with a book. The Fabulous Thunderbirds. The Jimmie Vaughan Years. Complete Studio Recordings 1978 -1989

"The multiple award-winning action-adventure game God of War was first released in 2005, but became such an instant hit, that Santa Monica Studio created seven more versions of the game. The most recent one, released in 2018 for the PlayStation 4, focusses on main character Kratos' journey in the Greek world together with his son Atreus, following a path of vengeance as a result of being tricked into killing his family by Olympian gods. God of War received universal acclaim for its story, design, graphics, combat system, characters, and music. It was awarded 'Game of the Year' by numerous media outlets and award shows. God of War (2018) performed well commercially, selling over five million copies within a month of its release. It became one of the best-selling PlayStation 4 games. The official soundtrack won a BAFTA Award and is composed by Bear McCreary. It is set up around themes he created around primary characters in the game. Inspired by Viking folk music, McCreary used exotic instrumentation and languages from various Northern European folk traditions. It resulted in a score featuring deep choirs, pounding drums, shrieking brass and features Faroese singer-songwriter Eivør (Pálsdóttir). The American composer Bear McCreary is best known for his work on TV shows like Battlestar Galactica, Outlander, The Walking Dead and won an Emmy Award for the main title of Da Vinci's Demons. God of War is available on black vinyl. This package contains a 4-page booklet with liner notes by Bear McCreary."

God Of War by Bear Mccreary, released 15 March 2024, includes the following tracks: "Witch of The Woods", "Ashes", "A Giant's Prayer", "Mimir" and more.

This version of God Of War comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Booklet.

As The Vision, Robert Hood provided Detroit techno a pinnacle of the artform. It may be justifiably best known for the lip-bitingly strong minimalist transport of Detroit: One Circle with its sparing central refrain "Detroit" and spine-playing riffage, or for the killer Explain The Style variant, but for us the EP's shortest and freakiest number Modern And Ancient is also one of its strongest, a mad, half-stepping slice of Afro-futurist electro encryption that still blows our mind today.

2026 Repress

Foundations Records has landed! A brand new label from the Foundations Series camp. Last year saw their launching F-BOMBS Records, a UK Garage and Bass focused label with a mighty debut from Swankout on the Speed Garage EP. Foundations Records will be a home to Hardcore, Jungle and all things Rave inspired.

Early support from: Pete Cannon, Billy 'Daniel' Bunter, Origin8a & Propa, T-Cuts, Vali NME, Swankout, Jay Cunning, LMajor, Chinese Daughter, Arkyn, Uplift, Drumskull, Andy Foundations.

Vintage hardware junkie, 12bit Jungle Out There (aka Kris Buckle), dusts off the Amiga and the Akai to craft authentic 90s Jungle beats. The Aussie-based Brit boasts a rich musical history that began as the guitarist for Sunscreem, sharing stages with The Prodigy, and continued with a stint alongside Soulwax favorites, Soapstarter. As a session guitarist and musical director for singer-songwriter Liam Bailey, Kris honed his craft on international stages, gaining valuable experience and deepening his musical versatility while touring with drum & bass giants Chase & Status. Recently, he's been sharing his expertise in retro Jungle production through YouTube tutorials and actively contributing to Perth's Jungle/DnB community with the high-energy SUB/Stance events.

In his 30th year of releasing music, Jimpster returns to Freerange with Bassic Rollers, a brand new four-track EP that reaffirms his status as one of UK house music’s most enduring and inventive figures. This marks his first full release since the highly regarded The Phoenix EP on the legendary Nu Groove imprint.

Limited Rusty Red repress of this sought-after 12” from Instruments Of Rapture. Killer deep disco, not to be missed!

Every Little Word “The Best of the Bonus Tracks” is an exclusive vinyl release of the best tracks taken from the Slim Dunlap double-cd reissue EVERY LITTLE WORD. “Slim Dunlap, who I don’t know if a lot of people are very familiar with, but he was a member of the Replacements. And he was really a unique guitarist, singer, and songwriter, and one of the deepest and truest rock and roll souls I’ve ever heard. He has two fabulous solo albums out that I would tell everyone to run out and get" - Bruce Springsteen

First time on vinyl. This is not a crappy picture disc but new vinyl tech that is a tried and true hi-fidelity record on one side and 9 layers of printing on the other. It's a work of art. Only 1000 of this edition are being made.

With Appearances by
Chandra Sanchez
Frank Iero
Jessey Chandler
Keith Goodwin
Lolly Hopwood
Tim Arnold

Bird or Snake is the second full-length album from Em Spel, whose intricate, flute-driven alt-folk pulses with life, from the driving drums and propulsively patterned guitars of “Poet” (featuring guest Sam Wagster on soaring pedal steel) through the organ and vocal-driven road trip love song of “Fruiting Body,” which features bird songs recorded on a handheld microphone in Maine. Bird or Snake teeters joyfully between art-folk and intimate indie rock, with delightfully dizzying vocal harmonies and songs that veer between rock, ambient, experimental, and folk.

This music sounds like nothing else, but fans of Weyes Blood, PJ Harvey, Kee Avil, Robert Wyatt, Laraaji, Laurie Anderson, and Brian Eno will all find something to love.

Bob & Doug McKenzie’s comedic masterpieces are back and beautifully remastered with “The Great White North & Strange Brew 44 3/4 Anniversary,” loaded with features that any real hoser needs*. Including a karaoke version of “12 Days of Christmas” with a bonus lyric sheet, an “Are You A Hoser” poster, 12 page booklet of rare historical and archival photos and quotes from big names in music, film and sports and a blu-ray copy of the “Strange Brew” movie itself. The soundtrack won the duo their second Juno Award for Best Comedy Album. “The Great White North”, achieved multiplatinum status selling over ONE MILLION COPIES of the album! The song “Take Off” featuring Geddy Lee of RUSH and earned them the Juno Award for Comedy Album of the Year.

*baby mice, touques, and beers not included

Chris Acker’s latest collection of songs, Famous Lunch, is in his words, a “growing pains album.” When writing the record, the New Orleans' based folk musician found himself hunting for a voice that wasn’t just an imitation of the one he’d been using on the last 30 songs he’d made. “At the same time, I worked hard to find a certain voice for myself over the previous 3 records and I didn’t want to abandon that.”

While the album finds him continuing to transcribe life’s fleeting and provocative banalities with refreshing grace, the songs on Famous Lunch are intentionally more absurd, stylizing his lyricism as both poetic and disarming simultaneously— commencing with “Sh*t Surprise”—an earworm with a vernacular that stays true to its title. Inspired by George Saunders and Sasha Pearl (and wanting to make a song that sounds like Eagles saying the word “sh*t” over and over), “Sh*t Surprise” is the most Chris Acker song possible, in that its earnestness arrives in spades and comes varnished with a one-of-a-kind, spectacular gnarliness. “We’d match our breath in the upstairs room and we’d hold together ‘til I smelled like you,” Acker sings, before nose-diving into that unforgettable chorus about stepping in a smelly, disgusting pile of sh*t.

More than anything else, Famous Lunch finds Chris Acker at his most sentimental and grateful, as he sings about Bunn coffee machines, gas pumps smelling like “the underside of a fingernail” in August, “10-inching” bread, stealing country club lawn-mower motors, father-son fables, impatient buffet lines, and a broom that “hasn’t been used since the last time I used it.” Acker’s eye for detail remains, and his lexicon includes phrasings that spin out like a hypnotic wash cycle. Seeing the world through his eyes, language remains something worth falling into—growing pains and all.

The Portland, ME trio returns with Feels Like Hell, their most self-assured and emotionally charged record yet. Despite the title, the album is a celebration of personal growth, creative freedom, and defiant joy in the face of a chaotic world.

Coming off the burnout and frustration captured in their 2021 album Quitter, Feels Like Hell finds Sonia Sturino (vocals/guitar), Annie Hoffman (bass/vocals), and Adam Hand (drums) leaning into clarity, gratitude, and renewed purpose. Sturino’s lyrics are as raw and honest as ever, but now they reflect strength rather than despair. It’s an album that drags existential dread into the daylight and sets it on fire.

“I decided to stop being such a sad-sap negative person,” Sturino says. “Now I practice being grateful, being proud, being happy, and not being envious.” That mindset shift shapes the tone of Feels Like Hell, which looks at darkness but chooses not to be consumed by it.

The record also marks the band’s first foray into co-writing, with Hoffman playing a significant role in shaping its sound. Embracing a more intuitive recording process, the trio stripped back the excess and focused on what felt right. The result is a record that’s resilient, cathartic, and brimming with creative energy.

While the world may still feel like it’s falling apart, Feels Like Hell pulses with the power of letting go. Letting go of fear, of perfectionism, of the illusion that vulnerability is weakness. With driving guitars, unflinching lyrics, and a renewed sense of purpose, Weakened Friends prove that it’s possible to stand in the wreckage and still find something worth singing about.

Timm Sure & Richard Hampson should need no introduction.

Their output is prolific - with their own releases under the COYOTE moniker, as well as their work with other artists on their record label IS IT BALEARIC?

As huge fans of their work and label, we were flattered when they rang and expressed an interest in working with us. The product of this glorious new friendship is a truly exciting and unique sonic experience — one that is comprised of 7 proper tracks laced seamlessly together with African spoken word.

The word Nyabinghi (or Nyabingi) refers to a legendary woman of the Bahororo tribe of Uganda, whose name means "mother of abundance" or "the one who possesses many things" in the Mpororo language.

The 12 tracks of NYABINGHI ebb and flow between prose and melody, putting you into an almost trance like state - the sum of the parts at once meditative yet funky, evocative and spiritual, yet perfect to get people's feet moving at sunset.

Moxy are back — two new heaters to thaw out winter and welcome spring.

b A2 Mr. Grinch [instrumental]

[d] A4 Drinking Up Christmas [dexter Mix]
[e] A5 Drinking Up Christmas [instrumental]


[b] A2 Mr. Grinch [instrumental]

[d] A4 Drinking Up Christmas [dexter Mix]
[e] A5 Drinking Up Christmas [instrumental]

WRWTFWW Records is very happy to announce the release of Interwoven, the deeply moving collaborative album from Ken-ichiro Isoda and aus (Yasuhiko Fukuzono) — now available on limited edition transparent sea green colored vinyl LP housed in a heavyweight sleeve with selective-varnish 3D print, as well as in digipack CD and digital formats.
Recorded between Hachijo Island and Tokyo, Interwoven distills two visionary voices of Japanese ambient and electronic music into a single breath of feather-light and quietly luminous meditative sound.

Isoda is a revered figure of New-age and environmental music whose work on Oscilation Circuit – Série Réflexion 1 (originally released on famed label Sound Process) has long attained mythic status. He composes, notably with harp and wind instruments, produces contemporary music and video game scores, and crafts his very own brand of ambient music from the volcanic island of Hachijo-jima. Tokyo-based electronic composer and synth master aus is known for tender, melody-driven soundscapes. From the two artists comes a dialogue suspended between land and sea, bridging the generation gap and the physical distance between them.

What began as a series of sketches — impressions of water, islands, and shifting light — gradually evolved into an exchange without explanation, a correspondence of sound that dissolved boundaries. In that anonymity, both artists discovered an uncommon freedom: a place where each could move lightly and intuitively, without expectation. The music drifts with a gentle, intuitive grace: lingering piano, soft cinematic synths, and field recordings that unfold like whispered recollections, while flute and saxophone lines pass through like occasional breezes — a human presence felt as warmth more than form.

Interwoven is music for those who cherish stillness and the delicate beauty of the everyday. It’s music for admirers of Satoshi Ashikawa, Midori Takada, Satsuki Shibano, Hiroshi Yoshimura, Takashi Kokubo, Brian Eno, and all who seek a quiet refuge in sound.

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

DEUTSCH: Streng limitierte Kassettenausgabe des Albums AUTOMATENHALLE!
ENGLISH: Strictly limited tape edition of the album AUTOMATENHALLE!

Welcome to the world of Edward Blankman, a retired dentist who wrote elegant, minimalist jazz in obscurity circa 1970. At least that’s the story.

In truth, Edward Blankman’s Cape Cod Cottage is the 2021 concept album from Echo Park composer Brendan Eder.

A tender, wistful follow up to 2020’s To Mix With Time, the Cape Cod Cottage sound evokes the spirit of Erik Satie, Miles Davis with Gil Evans, and Stevie Wonder, balanced with the accessibility of 1960s lounge-exotica. Eder’s characteristic arrangements are crafted to reflect the past, without losing the innovative quality of his modern ear.

Eder created Blankman’s story to channel his own grief, with bittersweet tenderness. Read the liner notes, and you’ll be transported to the quiet shores of Cape Cod, where a lonely retiree mourns his late wife, Natalie, with walks in nature and evenings at his Wurlitzer.

The story is brought to life with a meticulously crafted package sporting classic liner notes, faux 1970s photographs documenting Edward with the musicians (taken during the actual session), a make-believe jazz label, and a commissioned oil painting of Edward’s cottage. Eder spent over a year rendering the compositions and charts according to his vision.

Eder brought together a dream line up with a ton of chemistry for the project; drummer Christian Euman (Jacob Collier), saxophonist Josh Johnson (Jeff Parker, Leon Bridges), and bassist Alex Boneham (Billy Childs), who all studied together at the Hancock Institute of Jazz. Rounding out the group is flutist Sarah Robinson, a recurring player in Eder’s ensemble, and Edward Blankman (Brendan) on the Wurlitzer.

The cast was booked for a single date with coveted engineer Michael Harris (Kamasi Washington, Angel Olsen, Fleet Foxes) at famed Electro-Vox Recording Studios. To create realism for Edward’s story, the charts were purposefully withheld from the musicians until they arrived at the studio. The result is an authentic and natural performance delivered by players at the top of their game, captured on pristine vintage equipment including the legendary Neve-8028 console.

Finally, the long-awaited repress of this tech-house banger by French producer Bobby Parker from ’03. A real classic from DJ Francesco Del Garda. The B-side comes from another sick release on the label, this time with Mogcha. It’s a straight-up electro-house heater, perfect to get that dancefloor hyped. Antinote’s also planning to reissue some of the Monster Funky catalog in the next monthes. Stay tuned!

Bleech 9:3 share their debut single 'Ceiling / Jacky'. The Irish four-piece, fresh off an extensive run of dates with Keo, will support Shame on their upcoming Ireland dates.

Headed up by Barry Quinlan (vocals/guitar) and Sam Duffy (guitar) - the pair met at AA, where Sam became Barry's sponsor. The moved from Dublin to London together in 2024. "I think the vulnerability of those meetings helped us be a lot more comfortable with each other from the get go" they say about these first recordings.

Ceiling toys with 90’s infused heavy alt-grunge, music catalysed by a longing which transcends the material realm, a fixation upon negative space, and the desire for erasure. On the new single, Bleech 9:3 say-

"The story behind “Ceiling” is a sad one. I realised while writing the lyrics that it was about my friend Ryan who I met at a recovery meeting in Dublin. He passed away before he really got the chance to get better. It’s not something I’ve ever purposefully sat down to write about, it’s all those types of things which try to make contact with me through the writing. It’s like it’s trying to manifest itself to be released or something. Some things you hold on to for a long time before they finally find their way out."

Ceiling is out now on Ra-Ra Rok Records (Wu-Lu, The Goa Express, Bingo Fury).

NES label founder and Danish DJ Popup brings his signature deep house sensibilities to the Aurore 404 imprint. The release features three house cuts that showcase his dual love for groove-driven, Daft Punk–influenced rhythms and deeper, more hypnotic shades of deep house. DJ Central steps in on remix duties, rounding out a true Regelbau family affair.

2026 Repress
The legacy continues with Paling Trax 5! A split-EP featuring label-head TAFKAMP and the young talented Amsterdam-based DJ/Producer Vromo, both delivering two groovy no-nonsense club bangers. All killer no filler, highly essential!

Black vinyl re-press of the initial sold out brown vinyl edition

2026 Repress

Been wanting to release Murder Most Foul on 3AM Eternal since hearing his amazing EP on Soundcrumpet. He delivered 2 amazing tunes "Dogfish" has his expertly blend of rare groove and hardcore ragga jungle. Raw but oh so smooooth. "Cosmic Love Birds" is something else, otherworldly vibes with an insane amen workout equals 100% fire!

FFF returns with "Never In A million Years" which brings, rare groove, soundclash amen choppage in known FFF fashion, You can't stop the drum and you can't stop the bass!! "Hustlers pt 2" Brings manic filtered amen workout with rare groove clash vibes. Hustlers of life, never survive!

In den letzten fünf Jahren hat sich Joe Westerlund intensiv mit der Clave beschäftigt, dem metrischen Muster, das zunächst die afro-kubanische und lateinamerikanische Musik geprägt hat und dann in fast alle Bereiche des Jazz und Rock Einzug gehalten hat. Was bedeutete es, dass eine Idee so flexibel war, dass sie so viele Formen annehmen konnte und dabei doch ihre eigene Essenz behielt? Das Ergebnis ist für Westerlund ein Sprung ins Unbekannte: Curiosities from the Shift, ein 12-Track-Spielplatz mit endlos verwobenen Beats und Melodien, auf dem Westerlunds Begeisterung für die Clave auf seinen experimentellen Umgang mit Texturen trifft und seine rhythmische Symphonie mit Freunden Hand in Hand geht, die diesen Raum gemeinsam mit ihm gestalten. Die dreiteilige Suite, die die erste Hälfte von Curiosities ausmacht, beginnt mit den Schrottplatz-Percussions und den entzückenden Bass-Splashes, die ,Tem" umrahmen, und endet mit dem surrealistischen Boom-Bap von Daumenklavieren und Shakers auf ,Can Tangle". Diese Stücke strahlen eine hart erkämpfte Freude aus, als würde Westerlund sich in Echtzeit daran erfreuen, eine potenzielle Sackgasse zu entdecken, aber trotzdem seinen eigenen Weg nach vorne zu finden. Diese Songs wurden zu einer Art Arbeitsplan für das Terrain, das Westerlund auf Curiosities erkundet, vom glorreichen Call-and-Response-Opener ,Nu Male Uno" bis zum unheimlich amorphen Schlussstück ,Felt Like Floating". Alle diese Songs zeichnen sich durch einen erkennbaren Rhythmus aus, wie den galoppierenden Gang in der Mitte von ,Midpoint" und den kopfnickenden Puls, der sich durch ,Persurverance" schlängelt, dessen Name augenzwinkernd falsch geschrieben ist, um seiner Aussprache aus North Carolina via Wisconsin zu entsprechen. Aber das sind nur Sprungbretter für andere Texturen, Stimmungen und Ideen, wie die New-Age-Anklänge - schimmernde Metallophone, zwitschernde Vögel, zurückhaltende Flöten -, die ,Midpoint" durchziehen, oder die Dub-artigen Delays und Gamelan-Hymnen, die ,Persurverance" durchziehen. Dies ist zutiefst vielschichtige Musik, deren treibender Kern durch eine Reihe überraschender Entscheidungen ausgeglichen wird. Bittersüße und Freude, Trauer und Befreiung, Seufzer und Lächeln: All das ist hier vorhanden und verflechten sich bis ins Unendliche. In den Monaten nach den ersten Sessions wandte sich Westerlund an Freunde - darunter Tim Rutilli von Califone, den Saxophonisten Sam Gendel, den Trompeter Trever Hagen und die Violinisten Libby Rodenbough und Chris Jusell. Es waren seine am gründlichsten komponierten und präzisesten Werke, aber er wollte hören, was passierte, wenn seine Freunde in Echtzeit darauf reagierten. Sie lieferten Anmut, Tiefe und Gefühl, wobei ihre Parts den Vorhang zu verborgenen Winkeln rhythmischer Welten öffneten. Westerlund gibt bereitwillig zu, dass er von der Betonung des Grooves und des Metrums des Albums überrascht ist, die sich von abstrakten Klängen abhebt. Nachdem er so lange mit Bands gelebt und gearbeitet hatte, ging er davon aus, dass er mit grundlegenden Metren fertig war. Diese 12 Songs verschmelzen so viele von Westerlunds Leidenschaften zu endlos faszinierenden Stücken, die mit vertrauten Elementen seine Abenteuer ins Unbekannte übertragen. Verspielt, aber zart, wehmütig, aber wundersam, von Beats angetrieben, aber nicht an sie gebunden - dies ist Westerlunds bisheriges Vermächtnis, das Soloalbum, das einen Blick auf eine musikalische und emotionale Landschaft eröffnet, die vielleicht sogar noch reichhaltiger ist, als er es sich jemals hätte vorstellen können.

Repress!

Groovin recordings celebrates the release n° #100 repressing one of the most essential electronic-dance records of all times.

In his 1954 book The Doors of Perception, Aldous Huxley theorized that every person lives and experiences life on their own island universe. We can try to explain our experience to others using language, symbols, and art, but we'll never be sure that we're feeling something precisely the same as anyone else. This line of thinking has become a source of inspiration for many prolific artists. Now, Cincinnati-based producer Jason Grimez is inviting us to hear what it sounds like on an island of his own creation. The Island of Dr. Bionic is the third installment in Dr. Bionic's Terrestrial Radio series. Due out 5/2/2025 on Chiefdom Records, it's a collection of instrumental fusion for fans of hip-hop, jazz, funk, and beyond. Grimez is the producer, mixer, and mastermind behind Dr. Bionic. He's a Cincinnati-based creator with a deep understanding of 90s hip-hop and DJ culture, and he draws inspiration from music of all kinds. Grimez' ever-growing catalog is best described as organic groove. He calls on a rotating cast of veteran musicians to join him at his home studio to write, record, and try out new ideas. Long-time listeners will find some familiar names in the liner notes, for good reason. 'Life Span' (track 14) features a head-bobbing beat from Marvin Hawkins. Nick Brown is responsible for the dreamy Rhodes performance on 'Shell Of The Soul' (track 11). If Charlie Suit's unforgettable sax performance on 'The Path Of Stars' (track 16) is stuck in your head for more than 3 days, please consult Dr. Bionic. Once the recording sessions are complete, the real production work begins. "We get together and record a ton of stuff, and then I'll go back and cut it and mix it together," Grimez explained. "It all finds a home over time."

”While still retaining their signature, at times undefinable, sound, Blood Cultures explores the avenues of personal storytelling like never before, making ‘LUNO’ one of their boldest albums.” - Atwood Magazine

“Blood Cultures have been providing us with some of the most unique sounds going around this year, all in the lead up to their highlight anticipated new project ‘Luno’, and they’ve finally come through with the goods with an eclectic array of soundscapes and colour combining together for a smashing display of psych/indie-pop.” - Acid Stag

“Finally convalescing into an extremely topical narrative that gives the backbone to their new project, LUNO is a feast for the eyes and ears with multiple music videos providing additional storytelling to a knowingly impactful project.” - Earmilk

Benedict returns with his fourth record in a collaboration with London's So'Fierce, after a strong run of three incredibly well received releases.
For 004 expect a different mood on each side of this timeless sounding driving Chicago House record...

Die Wiederveröffentlichung von Connie Converses How Sad, How Lovely auf Third Man Records erscheint fast 51 Jahre nach dem Verschwinden der Singer-Songwriterin und ist damit die erste Neuauflage dieses Albums seit beinahe zehn Jahren - und das in jedwedem Format. Die Veröffentlichung umfasst 20 Tracks (darunter eine Bonus-7"-Single mit dem bislang unveröffentlichten Stück ,House" sowie einem neuen Remix von ,Playboy of the Western World", beigesteuert von Dirick Cummins), die nichts von ihrer Eindringlichkeit und Kraft verloren haben. Sie präsentieren eine Künstlerin, die ihrer Zeit um Lichtjahre voraus war.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s multi-million selling critically acclaimed album Eye In The Sky (1982) is re-issued in a variety of formats, including including this 2LP heavyweight, 45 RPM Audiophile edition. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

2026 Repress

The debut release from a brand new imprint on the market - Patent by Gockel - a heavyweight 5-track vinyl journey into the world of the echo chamber, where baselines roll deep, claps crack like thunder, and each artist brings a unique flavor of dubwise pressure. From smoky steppers to spaced-out experiments, this compilation distills the essence of dub infused Techno into pure wax.

Psychedelic dub, Afro-Latin rhythms and cosmic grooves come together on La Chooma’s self-titled debut for Batov Records. Drawing on Moroccan Gnawa, Colombian cumbia, Afrobeat, Jamaica dub & roots, and cosmic jazz, the six-piece ensemble create deep, hypnotic music rooted in global traditions and shaped for contemporary dancefloors.

Having already captivated local audiences with their hypnotic, organic live performances, La Chooma – now a six-piece ensemble – have been steadily building an international following. Initial singles “Magic Plant” and “Huachuma” earned support from tastemakers including BBC Radio 6 Music’s Deb Grant and Tom Ravenscroft.

“Magic Plant” distills the band’s signature blend of hypnotic grooves, lush percussion and woozy synths, like Jimi Tenor lost in the Colombian Amazon. A dreamlike, dub-infused trip driven by organic rhythm and cosmic textures. “Huachuma” picks up the thread, fusing Afrobeat percussion, swirling basslines and psychedelic flourishes into a hallucinogenic jam made for a tropical dancefloor.

Complimenting his singular debut LP, 2025’s ‘Light Months Will Fly Over Us’, singer-songwriter and producer Addy Weitzman sees his thoughtful artrock and new wave aesthetic expanded by The Time & Space Machine for a limited three-track 12".

The long-running alias of British DJ, archivist and acid pioneer Richard Norris, this trio of remixes from The Time & Space Machine’s central processing unit finds Norris in a jubilant raving mode, his trademark psychedelia contributing to Slacker at its best and baggiest. The initial mix captures Weitzman’s songwriting in full, including his portentous vocal hook – “No man is a prophet in his own land” – a proverb first found in the gospels, blessed with the innovative Norris’s application of hypnotic groove, fat low-end and a ton of percussion.

The B-side sees Norris stripping things back in two directions: the Shango Dub draws focus on the higher vibrations found in the track’s beautifully intertwined percussive and synth elements, while the Riddim Mix reduces the frequencies further still, with a phased, slightly fried drum workout primed to spin heads as the night gets deeper and darker.

Only 200 copies were produced, hand-numbered by Eprom.

In response to the overwhelming interest in Eprom's album "We Are The Biobots," we are releasing the single "Rebelzeit" as a separate product, which appeared as a bonus track on the DELUXE edition of the album.

A new cover has been created, and the 7-inch vinyl is green. The new material is a preview of DJ Eprom's next album...

Four-time GRAMMY Award-nominated global superstar RAYE, is releasing her highly anticipated sophomore album THIS MUSIC MAY CONTAIN HOPE. The album, set in 4 “seasons” with each side of the vinyl being a different season, takes listeners on a sonic journey that begins with darkness and ends with light.

“Music is medicine. I’ve always said that, and I guess I’m in the process of making medicine for myself that I can share with the world. I want us all to say to ourselves that it’s going to be all right, and I’m going to have faith in the seeds that I’ve planted beneath the snow. I wanted to create something that is a hug or bed or soft place for that person who needs it.”

RAYE recently kicked off her massive 51-date sold-out arena tour THIS TOUR MAY CONTAIN NEW MUSIC includes arena dates across Europe and the UK — including six sold-out nights at The O2 — before heading to North America with stops at iconic venues such as Radio City Music Hall (April 15 and 16th) and the Greek Theatre (May 12 and 13th). Additionally, RAYE will be a special guest on Bruno Mars’ The Romantic Tour for 27 stadium shows across the US this summer.

Liva K and OVEOUS unite for transcendent new single, ‘Blessings’, on Crosstown Rebels. Out on 27th March 2026, the Greek producer and NYC-based artist deliver a hypnotic journey of spiritual rhythm and soulful energy.

A groove-driven journey arrives on Crosstown Rebels on 27th March, with Greek DJ/producer Liva K and New York DJ/producer and vocalist OVEOUS guiding the way. Their label debut, ‘Blessings’, emerges as a meeting of instinct and intention. Crafted from Liva K’s fusion of sounds and textures, the track flows with captivating suspense, while OVEOUS’ voice carries a magnetic, ritualistic weight. The result is a record that exists in both body and mind, designed to move crowds while resonating on a deeper, spiritual plane.

Liva K has quietly carved his own path since emerging onto the international scene, weaving melodic house and techno, and Afro-infused rhythms into sets and productions that pulse with movement and depth. From his debut album ‘1994’ to recent material on Defected, Black Book Records, and When Stars Align, he balances studio craftsmanship with spontaneity while creating moments across venues from Hï Ibiza to Miami’s Factory Town. Meanwhile, OVEOUS brings his HYPER SOUL and Hyper Ancestral sound to every stage and recording, merging house, afro-soul, and ritualistic energy. As a DJ, producer, and poet, his voice and presence cut through tracks with spiritual weight, turning grooves into experiences that are simultaneously sensual, reflective, and kinetic. providing moments that resonate long after the lights come up.

Some tracks are just too good to only feature on a compilation, even if it is a significant and celebratory set like Leng’s 15 Year anniversary album from late last year. That’s certainly the case with Payfone’s brilliantly atmospheric ‘Dime Algo’, a seductive slab of slow-motion Balearic disco featuring ‘I Feel You’ vocalist Kyd Nereida, along with Sofi Hardoy and Ludmila Rodriguez.

For this single release Black Science Orchestra, one of Britain’s most storied production collectives, deliver some truly exceptional remixes. Initially making their name with a series of sensational house jams on Junior Boy’s Own across the 1990s, BSO became renowned for the quality of their remixes as well as an ever-evolving trademark sound that put soul, organic instrumentation and references to dance music’s rich and varied past front and centre.

Comprised of Rob Mello, Ashley Beedle and Darren Morris, Black Science Orchestra work has been rare in recent years but here they deliver some magical takes on ‘Dime Algo’, blending Payfone’s original instrumentation with their own low-tempo magic. The Vocal Mix begins with sparse drums, Kraftwerkian bleeps and heavy sub-bass, building the action in waves with 303 lines, electro synths, warm chords and Nereida’s superb lead vocals combining to re-frame ‘Dime Algo’ as a deep, far-sighted slice of chugging 21st century acid-disco. The Dub Mix stretches things out with effects-laden instrumentation, acid lines and vocal snippets. Deeper and woozier, with more prominent use of the trio’s 303 trickery and Payfone’s superb original elements, it’s a heady, intoxicating and loved-up interpretation that subtly gains intensity throughout its seven-minute duration.

Audaciously innovative sound designer/producer/live artist Enrico Sangiuliano reaches #0 in his countdown from ‘NINETOZERO’ on his eponymous ephemeral imprint, triggering its built-in autodestruct by the release of provocative 3-track EP ‘Absence’, out March 19th on vinyl & digital. The digital EP will also feature an Edit of ‘Step Into The End’.

The Italian tech maestro and artistic pioneer eschews populism, yet still storms charts & wins hearts – notably/recently in his unsettling, compelling manifesto x battle cry ‘The Techno Code’. Says Enrico of his label, ‘NINETOZERO is a cycle of listening, making, and letting go. Born from silence, shaped by space, directed by reflection, altered by change, revealed by glitch, unified through interconnection, lifted toward transcendence, refined by discipline, clarified by chaos, and finally returned to absence.’

On his ‘Absence’ EP: ‘With ‘Absence’ we come full circle, back to the womb of nothingness but charged with the echo of everything we have experienced. It is an ending, yes, but also an invitation. A new kind of silence is born, shaped by the memory of every frequency we unleashed.’ Enrico Sangiuliano can thrill listeners with his music, but dares to challenge, to trust them.

Main track ‘Step Into The End’: a full-on barrage of trustworthy techno danceability & energy, bookended by soulful violin, high horns & sirens, with spoken incantations as if summoning to a sacred rite. A ten-minute timeless dance track as ‘all we’ve learned converges into a single point where presence & silence merge.’

Title track ‘Absence’: The (Techno Code-esque) Voice speaks of sound, space, absence, trace... the track’s background noise is the almost- silence of his studio ‘through a magnifying glass’.. His breathing can just be heard in the recording. Melodic, beautiful, free-form chords in the middle section act like a breakdown in reverse. ‘A provocation, a track of silence, incidental noise. A tale of a story that just finished, but also a background for a story to be shaped. No one is intentionally performing for us. Here, the responsibility and work of listening is on you, to figure out what you can hear and what to make of it, to craft your own soundtrack based on the sounds that surround you, beyond the track. You can perform your own version yourself. Close your eyes and just listen. Engage with your environment. Be present. Expand your senses. Enjoy absence.’

‘The Aftermath’: a 40-second provocative coda. A snatch of stirring conversation signing off the EP and label alike. What will be launched post-zero by Enrico Sangiuliano? Watch this space, this absence.

This 7" record by Agogo Records features two remixes by Mo' Horizons. Track one is a cover of Nat King Cole's "Calypso Blues", performed by percussionist and singer Nené Vasquez, who is part of the Mo' Horizons family and used to play in Shakira's band in a former life. Super Oud is a musical project from Bremen, Germany, combining traditional Middle Eastern sounds with modern electronic grooves.

a. Nené Vasquez - Calypso Blues (Mo' Horizons Remix)
Written by Nat King Cole & Don George. Published by Crestview Music.
Original production by Nené Vasquez. Remix production by Ralf Droesemeyer.
Lead Vocals by Inna Vizotska. Additional Remix Vocals by Frankie Figueroa.

b. Super Oud - Zala (Mo' Horizons Remix)
Written by Claas Bösling & David Niedermayer.
Original production by Claas Bösling. Remix production by Ralf Droesemeyer.
Oud by David Niedermayer. Remix Vocals by Marriam.

This 2026 reissue of Isolée’s 'Beau Mot Plage' revisits one of the most quietly influential tracks of early-2000s minimal techno and deep house.

Presenting a trio of reworks that stretch its sun-bleached elegance in different directions. Built around Isolée’s signature warm chords, skittering rhythms, and hypnotic restraint, 'Beau Mot Plage' remains a masterclass in subtle groove and emotional economy.

The A-side opens with the Heaven & Earth Re-Edit, Luke Solomon and Rob Mello's extended take that amplifies the track’s balearic glow while preserving its intimate pulse. This is followed by the Freeform Five vs Idjut Boys Beats version, which nudges the original toward a looser, club-ready feel, adding bounce and attitude without sacrificing its understated charm. On the B-side, Freeform Reform Parts I & II delivers a deeper, more exploratory reconstruction.

In Joe Meek's last months, he produced some of his best, hard-edged mod and proto-psychedelic records - like this one. But still he clung on to the name of the Tornados, like a touchstone, reminding him of his greatest success with the 1962 hit single ‘Telstar’.

This Tornados in 1966 was very different to the original line-up, based around an entirely different group called the Saxons, and had an entirely different sound. ‘No More You And Me’ has blistering guitar lines, and an intense soulful vocal; it's a British popsike monster that drives along like the Eyes or Wimple Winch. On the flip, ‘You Always Did What You Wanted’ is British blue-eyed soul, a terrific beat ballad with hypnotic swirling piano.

Both point to directions Meek could have headed in had he lived, and are A-grade 60s beat. It's the first time on vinyl for both tracks. And it's another brace of dancefloor-friendly tracks from Bob Stanley's Measured Mile label.

Riva Starr returns to Rekids with the ‘Shine A Light’ EP

The Snatch! Records boss follows up 2022’s appearance on the label with Mark Broom as Star B.

Italian producer and DJ Riva Starr returns to Rekids with the ‘Shine A Light’ EP, arriving 27th March 2026. It marks his solo debut for Radio Slave’s flagship label, succeeding his ‘Love Will Remain’ EP together with Mark Broom as Star B in 2022. Active for more than two decades, Starr has been a consistent force within House music, known for building infectious loops, weighty basslines, and hook-led vocals into timeless club records. His catalogue spans his own Snatch! Records alongside labels such as Hot Creations, Cajual, Crosstown Rebels, and Factory 93, with releases regularly topping digital charts.

Riva Starr’s ‘Shine A Light’ EP starts with 'Can't Stop The Feeling’, setting the tone with a bold, elastic House groove, driven by funky bass, smart filter work, and diva-style vocal stabs designed to lift the room. ‘Shine A Light (On Me)’ follows with even greater impact, pairing wall-rattling drums with belting vocals that bring gospel intensity to a hands-in-the-air anthem. ‘Tryin’’ digs deeper, keeping the pressure on with a sleazier bassline underpinning male vocal cries and smooth choral touches built for peak-time reactions. Closing things out, ‘Can’t Stop The Feeling (Beat-A-Pella)’ strips the groove back, rounding off a high-impact, emotionally charged EP of modern house craftsmanship.

Tom Misch’s long-awaited sophomore album Full Circle finds the London-based artist, songwriter, and producer at his most personal and honest. Exploring the moments that have shaped him over the last four years: family, friendships, nature, and celebrates the work of finding his way back to himself. Made during his time spent between London, Cornwall, Portugal, and Nashville with a focus on classic songwriting, honing a collection of eleven timeless songs including the previously released singles ‘Old Man’ and ‘Red Moon’. While Full Circle contends with some of quieter moments of the last four years, it remains optimistic and effortlessly listenable, anchored by unadorned vocals and a warm, analogue sound. And the beauty of Full Circle lies in the universality of its lyrics, inviting listeners to inhabit Tom’s world or trace their own path within it. Full Circle stands as both a reflection of his journey and a statement of ongoing evolution.

Doubting all the time. Fearing all the time. Our Darkness descends upon Dark Entries with a reissue of Anne Clark’s epochal proto-house masterpiece from 1984. As a young poet, Clark found herself drawn to London’s emerging punk scene. She became acquainted with Psychic TV affiliate David Harrow, with whom she would collaborate on 1983’s Changing Places and 1984’s Joined Up Writing. “Our Darkness,” off the latter album, was released as a single on Ink Records that same year, and became an underground club hit. It’s a singular piece of music: Clark’s lyrics, delivered with equal parts muscular confidence and unease, speak of urban alienation and heartbreak, while Harrow’s production pummels the listener with hydraulic beats and gloom-laced arpeggios. The song’s spirit would prove influential on both the early Chicago house and Detroit techno scenes, where mechanistic funk and existential despair could catalyse dancefloor mayhem. This reissue offers three versions of “Our Darkness”: the original 12” remix, the Razormaid mix, and a previously unreleased dub version uncovered by David Harrow. Also included is the extended mix of “Sleeper in Metropolis,” another dancefloor hit of Clark’s, as well as the elegiac “Poem for a Nuclear Romance.” The record includes an insert with liner notes and lyrics. “Our Darkness” channels timeless longing and contemporary dismay, a classic overdue for a little light shed upon it.

Far Out Recordings proudly presents Ladeiras De Santa Teresa, the debut collaboration between Rio-jazz maverick Antonio Neves and carioca percussion master Thiaguinho Silva. In what could well be the first ever Brazilian jazz album centered around two drummers, Ladeiras De Santa Teresa is an uncompromisingly groove-rich recording, steeped in trad-samba roots and brass power.

Since his acclaimed 2021 album A Pegada Agora E Esssa Antonio Neves has remained a mainstay of the international facing Brazilian scene, performing both as a trombonist and drummer. His instrumental contributions to contemporary classics like Ana Frango Eletrico’s Little Electric Chicken Heart, Bruno Berle’s No Reino Dos Afetos 2, and Bala Desejo’s Sim Sim Sim will be marveled upon by future generations. His partner in crime Thiaguinho Silva happens to be the son of percussion icon Robertinho Silva, who has played on more or less every canonical Brazilian record, Arthur Verocai (1972), Clube Da Esquina (Milton Nascimento and Lo Borges, 1972), and India (Gal Costa, 1973) to name barely a few. Thiaguinho himself has worked with Marcelo D2, Gal Costa, Liniker and Alice Caymmi, and upon listening to Ladeiras De Santa Teresa, it’s clear that Thiaguinho is more than a worthy successor to carry the Silva family torch.

Some listeners may already be familiar with “Das Neves,” which appeared on Mr Bongo’s Rio De Janeiro-focused Hidden Waters compilation in 2023. The track showcases the profoundly skilled Neves brothers brass section (Antonio alongside brother Edu, who has performed with Hermeto Pascoal), the fiery elegance of pianist Luiz Otávio (Dora Morelenbaum), and Thiaguinho’s pulsating samba breaks. This synergised combo continues across the album, notably on “Fendas Vocais” with Neves doubling up on drums, exhibiting his inventive and fearless skill as an arranger. The album also features street-artist, musician and rapper Joca, adding vocalised dynamism and swagger to an otherwise entirely instrumental record on “Viagem de Trem”.

The album’s title Ladeiras De Santa Teresa (The hills of Santa Teresa) is named in tribute to Rio De Janeiro’s famed Santa Teresa neighborhood, a bohemian enclave with scenic views of the iconic cityscape. The spirit of Santa Teresa with its expansive city views and bustling energy is embodied in the album which encapsulates the jazz and samba histories felt within the neighborhood’s windy alleyways and cobbled streets.

Ladeiras De Santa Teresa by Neves E Silva is out on vinyl, CD and digital on Friday 20th March 2026.

A meteorite and a lost EP from an experimental electronic talent escape their grim fate: remain unknown to human civilization forever.

Around 2015, Gareth Smyth (aka Lumigraph) produced two tracks before uploading them on his Soundcloud page under the name “Canyon Diablo”, a tribute to a meteorite that crashed in Arizona 49,000 years ago. Amazed, the future co-founder of M+M Disques barely had time to download them onto his hard drive before they were deleted... until today.

Behind the extraterrestrial sounds of this 2-tracker, Lumigraph seems to want to establish communication with planet earth using its own means. In the dubby “Flamingo Drive”, he patiently builds up his sluggish groove before bringing in a reassuring and catchy bassline. On the B-side, the avant-garde “America Song” combines industrial rhythms, drone guitar, and Pierre Henry-ish noises.

* fine art printed insert + PVC sleeve