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Tucked in the heart of Koreatown, Los Angeles, lies The Libra Hotel—the titular architecture of Nick Malkin's new album and site of his musical and psychogeographic exploration. Unlike most musical "site-specific" studies, Malkin remains wholly ambivalent to the documentarian approach, instead sharpening an auteur-like focus on the site as a conceptual and highly expressive backdrop. The Libra is musically explored as a space that houses a noir fragmentation of identity—the exhausted trope of a complicated protagonist walking through rain-soaked street corners and fumy neon lights—where an inner monologue is rendered in both miniature and at a cosmic scale. Casting aside stifling tropes around field recording, ambient, and improvised music, Malkin's work finds its own unique fidelity and emotional core through the assembly and reassembly of memory. Nearly every sound on the album—from frayed saxophones, lambent pianos, and dissected jazz drum kits—are multiplied, shattered, and reconstituted into shapes that adorn The Libra in a motion-blurred fog. The narrative of the Hotel suddenly appears as if out of the mist, with intersecting characters interacting within its walls by happenstance. Adminst the languid set pieces, wraith-like sonic grains gravitate around wide subbass beams that give structural form to The Libra, a narrative tension like when a scene is shot from hundreds of different perspectives: an image both luminous and veiled.

Much like Frank Sinatra's own spatial residency immortalized on "Live at The Sands," "At The Libra Hotel" showcases an exuberant view of entertainment, hospitality, and a form of masculinity, one that can quickly detourn into darkness. Knowing this, Malkin extracts a melancholic core out of The Libra locale. The flickering shadows of American decadence are shown in their ephemeral honesty, lines that trace how even in everyday life virtue is tested, sanity is tested, even reality is tested within the confines of desire, within the night. The album is draped in fleeting textures, carefully arranged with a trance-like microtonality, the faint inflections and articulations of a jazz band cascading into dissipated stillness. Voicemails about changed locations and covert eavesdropping on guests' whispered conversations provide an atmosphere of missed connection and voyeurism—a purloined letter of desire receding into a vanishing point. Like the music itself, The Hotel, a chapel perilous at the intersection of desolation row, the center of it all, yet simultaneously at the edge of town, becomes a structure between libidinous virtuality and actuality—our inevitable half-light.

Ultimately, the pensive atmosphere of "At The Libra Hotel," powerfully asserts a plea for the kinds of intimacy only possible in transient spaces. Here, memory cascades into a force that feels like something supernatural, perhaps even religious, yet always subject to the infidelity of our imagination. Here, the album opens into its primary psychodrama, the transient nature of subjectivity itself and how this becomes fractured in the tumult between our commitments and desires. Within this nocturnal space, to quote Louise Bourgeois, "you pile up associations the way you pile up bricks. Memory itself is a form of architecture."

The Trip To Vega is about deep outer space odyssey that occurs in the process of traveling from Earth through the Cosmos to another "favorable" star system 25.3 light-years away.

The time is year 2097, Sept 23rd.

To this day, Earthlings have managed to dodge some of nature's more dangerous extremities, massive volcanic eruptions, Earthquakes, solar burst that knocked out the Planet's entire electrical grid for 3 years, numerous plagues of disease, food and fresh water shortages, domestic and International Wars and many other life-changing operas, but for this event, what remains is a realization that has no remedy. The cause: Earth's physicality has changed. It is no longer favorable for living things.

It is the constant shifting of the planet's internal tectonic plates which has unfortunately produced an unexpected and impassable dilemma.

Because of the collisions, deep within the planet's core, the planet is now producing an extraordinary amount of sound that includes a specific harmonic frequency that erodes the natural senses of all life on Earth.

It is intensifying. It is intolerable and it is unlivable.

Yet, some humans prefer to stay, to "ride it out" like the Titanic captain going down with his ship. Some, in total disbelief as some have concluded it is the second coming of Jesus Christ. But for most, the decision is clear. Tolive another day, leaving is the only rational choice.

At an increasing rate, scientific research data shows that humans and most animals, excluding the Jellyfish will eventually lose the usage of hearing and are to greatly suffer from an array of other neurological and psychological effects. The sense of touch and taste, sleep depreciation, severe nerve damage, constant hallucinations. Everyone will lose many of their cognitive abilities within an estimated 12 months from now.

On this day and every 7 days afterwards until all registered passengers have departed, the first of a fleet of large number of massive size spacecraft carrying approximately 1 million humans per vessel will permanently leave Earth to begin the long and adventurous trek across outer space to a new home: Vega.

This is not a precautionary tale as there is nothing to learn. Instead, a decision has been made and a Trip To Vega is the consequence.

- Jeff Mills

Split System, the Aussie group featuring Jackson Reid Briggs (Jackson Reid Briggs & The Heaters) on vocals and Arron Mawson (Stiff Richards) on guitar, took the punk world by storm with its debut EP this past spring. That was hardly surprising given the talent involved. But whatever my expectations were for Split System, the Melbourne-based outfit far exceeded them. Not just another "super group" (also on board are guitarist Ryan Webb Speed Week, bassist Deon Slaviero, and drummer Mitch McGregor [No Zu]), Split System is straight-up one of the most powerful and exciting punk rock and roll bands of recent memory. The band's EP was a smasher, and now debut album Vol. 1 emphatically follows suit. My god, this record is a monster! Essentially Split System's sound is classic Aussie punk. That may sound like nothing new, but this band executes the style with a force and fury rarely heard these days. It doesn't hurt that Jackson Reid Briggs is one of the best rock and roll screamers going. He's got a fire inside of him. Meanwhile, Mawson and Webb form one hell of a guitar tandem. And that rhythm section is insane. These are all brilliant players who come together to make an extraordinary band. Vol. 1 comes storming out of the gates with "The End" and never lets up. Of course we knew some of the previously-released tracks ("Hit Me," "Demolition," "Climbing") were going to rip. But the newer material is just as good and will just about melt your face off. Songs like "Ringing In My Head" and "Grip" are pure energy and ferocity, while closing track "Feelings" has a mellowed-out Saints feel. This band knows how to rock and roll, and there are literally no songs on this album that don't entirely kick ass. Sometimes we think of these all-star groups as "side projects," but such categorization would sell Split System woefully short. If we're talking about the top three or four punk bands in Australia right now, this has to be one of them! Josh Rutledge/ Faster and Louder

In 1996, Busta Rhymes delivered his debut album, The Coming, three years after the Leaders of the New School unofficially disbanded. Though his talents were evident on those Leaders of the New School releases, Busta went on a series of features that only built up the public's desire for a solo Busta album. Right out of the gate, Busta dropped his classic debut single "Woo Hah!! (Got You All in Check)" that made it abundantly clear he was to be mentioned among Hip Hop's greatest solo artists. The energy and originality packed on that one song set a tone for the album that displays Busta's raw talent and ability to bend words with his ever rambunctious flow. The album features production by Easy Mo Bee, DJ Scratch, Q-Tip, and J Dilla. Songs such as "Everything Remains Raw", "Abandon Ship", and "Still Shining" all rise above as The Coming's stand-out tracks, but "Ill Vibe" is the album's crown jewel moment. Busta sounds right at home over this J Dilla beat, trading verses with his Native Tongue cohort Q-Tip. The Coming was a critical and commercial success for Busta Rhymes. It reached #6 on the Billboard 200 chart in 1996 and has since received a platinum certification from RIAA. As mentioned, The Coming boasts the hit single "Woo Hah!! Got You All in Check " which reached #8 on the Billboard Hot 100 chart in 1996. It was nominated for a 1997 Grammy Award for Best Rap Solo Performance. It also ended up sporting another hit single, It's a Party featuring Zhané. The Coming shows amazing variety where Busta can break free from the bells and the whistles of the Busta Dungeon Dragon flow to explore other ways of leaving our jaws open by his incredible lyricism. The Coming surely lives up to its title, as Busta delivers a performance that ignited his impeccable solo career.

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Limited green vinyl including the iconic Beam vs. Cyrus Remix, Lange's Sunset Mix and Hiver & Hammer Remix.



In 2001, Lange delivered "Drifting Away", a track that was a defining moment in trance, capturing the euphoric pulse of dancefloors at the turn of the millennium. Now, 25 years later, it returns to vinyl to celebrate its lasting impact, reigniting the same energy and emotion that moved a generation.



In 2001, Lange delivered "Drifting Away", a track that was a defining moment in trance, capturing the euphoric pulse of dancefloors at the turn of the millennium.Now, 25 years later, it returns to vinyl to celebrate its lasting impact, reigniting the same energy and emotion that moved a generation. This special, coloured vinyl release features the iconic Beam vs. Cyrus Remix, Lange's Sunset Mix, and Hiver & Hammer Remix, bringing together the timeless interpretations that cemented its legacy.

Mauro Pawlowski's 'Unspectacular Times' is the sound of an artist completely at ease with himself, and with the world, in all its ordinary, unglamorous beauty. Ten songs rooted in everyday observation and emotion, produced by Scorpio Twins (Stephane Misseghers and Bruno Coussée) with a full 24-carat 80s gloss: lush synths and basslines.

Where everything around us seems to demand maximum volume and instant outrage, Pawlowski turns that logic quietly inside out. These are songs about love that sneaks up on you, desire that builds in an art gallery, and a Nobel Prize winner falling off his bike and giving a thumbs up. Small moments, but in Pawlowski's hands, that's where everything worth paying attention to actually lives.

Guest appearances from Brianne Dunne (Daryl Hall & John Oates) and Pol Coussée, a Belgian saxophonist who found his way from London to Toronto and has played alongside Barry White and Isaac Hayes.

Following the 70s-tinged 'Eternal Sunday Drive', his second album on Unday Records 'Unspectacular Times' is Pawlowski's most pop focused to date. His most recent chapter in a career that has taken him from Evil Superstars to dEUS, through theater, dance, film and more alter egos than most artists have albums.

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

Orange Splatter vinyl. "Sermon of Mockery" by Pyrexia is not an album that tries to be accessible - it is built to be heavy, direct, and unsettling, and it delivers exactly that. Released in 1993, it sits right in the middle of a key moment when American death metal was evolving into something more technical and extreme. The sound is rooted in the New York scene: tight, compact riffing, constant stop-and-go structures, aggressive drumming, and deep guttural vocals with no room for melody. It's not about speed alone, but about control - everything feels deliberate, almost surgical in how the songs are constructed. Lyrically, the album revolves around a strongly blasphemous and anti-Christian theme. It's not just shock value; it's more like an inverted liturgy, where religious symbols are twisted into something dark and violent. This concept is consistent throughout the music, lyrics, and visuals, as you can see in the booklet. It may not be a mainstream landmark, but it played a key role in shaping the brutal death metal sound that followed. It influenced many underground bands and is still regarded today as a cult record. Listening to it now, the production may feel dated, but that's also part of its strength - it's raw, honest, and uncompromising. In short, it's a record that perfectly captures a specific era and mindset within the genre.

The British duo Andrew Eggleton and Daniel Hird, better known as Definite Grooves, return to Groove Culture with a new vinyl release that is pure energy for the dancefloor. Titled "Alive", this EP perfectly captures the essence of the label: delivering high-quality dance music curated with exceptional detail.

The record opens with the title track "Alive", a vibrant anthem that immediately sets the duo's intentions: solid grooves and infectious atmospheres. It follows with "Everyday (Move My Soul)", a track that, as the name suggests, hits all the right notes thanks to an impeccable rhythmic section and irresistible soul-infused warmth.

Side B keeps the momentum high with "Feel It", a track designed to keep the club moving during peak moments, while the closing is entrusted to "Don’t Do Disco". Despite the ironic title, the track plays with sophisticated house sounds, reaffirming the technical mastery of Eggleton and Hird.

In short, "Alive" is a must-have for vinyl collectors and DJs looking for that distinctive, elegant, and powerful sound that only Definite Grooves can deliver under the Groove Culture umbrella.

DYING VICTIMS PRODUCTIONS is proud to present Invoking Terror, the highly anticipated debut mini-album of Ireland’s CUTTHROAT, on CD and 12” vinyl formats. The island of Ireland may not appear often when it comes to underground bands…yet when it does, it strikes hard and swift! Witness CUTTHROAT, the goriest addition yet, who are now delivering their debut mini-album following two demos in 2023 and 2025, respectively. Aptly titled Invoking Terror, this five-song / 25-minute blast of filth & fury delivers violent, thrashing DEATH METAL that worships the underground’s forgotten days of old. For sure, CUTTHROAT may be “new,” but they definitely sound OLD here: think early / best Possessed, Morbid Angel, Merciless, and Necrovore and you’re within the power-trio’s wheelhouse. And no, they don’t intend to reinvent that wheel any time soon; the wheel that is Invoking Terror simply rolls over you – FAST – and the only recourse is to submit and headbang like a fucking maniac or summarily get flattened like the wimp that you are. The modern underground has yet to see such unbridled violence since the glory days of the aforementioned bands, and indeed is that CUTTHROAT’s aim on Invoking Terror. There is no story, no fashion, no trends – this is simply audial torture sent to invoke terror over all who listen

nobile, one half of the former Milanese duo Voronoi, presents a new series of recordings of ephemeral ambient soundscapes, organic throbs and broken rhythmic textures that sublimate the more instinctual and playful side of his poetics.


The project is haunted by cavernous sounds and an obsession with the 'netherworld' of the videogame Minecraft, and by Le Matin des Magiciens - the classic and revolutionary book that popularised occultism, alchemy and paranormal phenomena in the 1960s. "...FANTASTICO INTERIORE is" - as the artist puts it - "a fantastic journey inside the body, perhaps also a journey into the unconscious to understand my gastritis?"

The seven tracks traverse underworlds, infused with fantastic realism, where odd sounds materialise like poltergeists of digital folklore. Creepy voices emerge from the hell-like nether, intertwined with clusters of gelatinous percussive sounds that trudge to the surface. Earthy streams of crackling white noise carry volatile sonic particles that bounce off walls with short delays and reverberations, giving an almost visible form to the space.




But it is not always serious. As soon as you come across the curiously long titles of the tracks (which are rough translations of the Minecraft manual into Italian) a subtle irony emerges. The imagery appears to be harmless and eventually, as in a video game, you can switch to safe-mode and refill your health-bar along the way... 
No panic attacks in the soft-occultism of FANTASTICO INTERIORE ;)

‘Perfect We Are Not’ the latest track from Soulwax, emerges directly from the band’s recent Abbey Road After Hours project - a unique collaboration with the iconic London studio that saw Soulwax take over the building for a series of recording sessions and a landmark live event.

Working across Abbey Road’s historic spaces - from Studio Three, to Studio Two, to Studio One - the band used all three rooms as a continuous creative environment, moving fluidly between them in pursuit of new material. It was within these sessions that ‘Perfect We Are Not’ was written and recorded with their full live band (including three drummers).

The track was cut using the studio’s vast array of analogue equipment before being pressed direct to vinyl and played as the opening moment of their 2manydjs set inside Studio One

Now released as a standalone single, ‘Perfect We Are Not’ carries that immediacy forward — a driving, full-bodied track that reflects the band’s instinctive, performance-led approach in the studio, and will also be released as a limited edition 12” via DEEWEE.

Al Wahem (“The Illusion”) is the new full-length release by PRAED, the Swiss–Lebanese duo of Raed Yassin and Paed Conca. Recorded between Beirut and Berlin, the album returns to the group’s central aesthetic: a rhythm-driven weave of Egyptian shaabi, electronics, improvisation and the gritty pulse of street-level sound. Nearly twenty years into the project, PRAED have distilled their approach into four pieces that subtly shift the listener’s bearings, reordering grooves and fragments until familiar elements take on new identities.
The twenty-minute title track sets the tone. A tightly interlocking two-drum foundation from Pascal Semerdjian and Ayman Zebdawi shapes a structure that expands steadily: synth figures branch outward, clarinet and bass lines act as internal guideposts, and brief vocal calls from Yassin and guest singer Mayssa Jallad sit inside the texture rather than leading it. PRAED’s shaabi keyboard language is present, but the duo stretch it outward, building tension and movement through patient accumulation.

“Al Hathayan,” at 4:46, tightens the focus. Conca’s clarinet moves between melodic arcs and clipped rhythmic gestures, threading through electronic loops that surface and disappear. Zebdawi’s percussion adds a raw, tactile quality, placing acoustic patterns and electronics in direct conversation. The piece acts as a bridge between the album’s two long-form compositions.
Side B begins with “Al Maraya,” a thirteen-minute piece that relies on electronic, bass and clarinet interplay. The atmosphere nods to the breadth of PRAED Orchestra!, but remains anchored in the duo’s rhythmic foundations. Rather than building mass, the layering creates a sense of depth, as if new spaces were opening inside the groove.
The album closes with “Assarab,” featuring keyboardist Amr Said. Semerdjian and Zebdawi again form a dual percussive axis, while synths hover between melody and pulse, and themes recur in widening circles rather than building vertically. The porous boundary between electronic and acoustic sources — processed clarinet mistaken for a sequencer, rhythmic figures springing from live drums — is where the album’s theme of “illusion” shows itself most clearly.

Al Wahem follows a long arc: early releases on Annihaya, a key appearance on Ruptured Sessions Vol. 5 – Live at Radio Lebanon (2013), later albums on Akuphone, and the large-scale PRAED Orchestra! documented on Morphine Records. This new Ruptured/Annihaya co-release brings the duo back to a concentrated format, reorganizing their familiar materials with renewed clarity and intent.

Yes here we are 50 years on from year zero 1976 (where did that go!!!). To celebrate this and the fact we are all still here and talking about the importance of the Punk Rock movement i put together an album under the banner Punk Rock Daze. The title reflects it was all such a daze, as it ran by so fast and also as a reminder of an old Malcolm McLaren remark that came to mind. That when the band and management were discussing the look and name of the Sex Pistols forthcoming album ‘Never Mind The Bollocks’. Malcolm remarked, lets sell it as you would sell washing powder, bright, simple and with fluorescence colours. Great idea so here is my homage to that thought.

So I hope you enjoy the gesture and here’s to another 50 years of Alchemy, Joyousness and
instruction (Anarchy, Chaos and Destruction).

Peace and Punk Mal-One

Originally released in 2008 on Ezekiel Honig’s own Anticipate Recordings, Surfaces of a Broken Marching Band finds the artist refining a compositional language rooted in the methodologies of musique concrete, ambient, and beat research. Working from a palette of environmental recordings, instrumental fragments, and soft electronic treatments, Honig pushes the source material into an array of sympathetic forms ranging from pillow-soft, lowercase ambient to diffuse downtempo and minimal house. For its reissue on Keplar, the album has been remastered by Kassian Troyer (D&M), bringing a new clarity to its intricate, low-lit architectures.

Throughout the record, serving almost as audiographic guideposts, are faint but insistent gestures toward propulsion, an abiding and recurrent 4/4 pulse that guides the music laterally and instantiates a slow negotiation between its various elements. This music invites close listening precisely by not revealing itself all at once, allowing small collisions of timbre and subtle shifts in emphasis to carry the weight. The traces of lived environments that remain embedded in the mix - distant crowds, sounds of transit, the indistinct acoustics of interiors in flux - expand the frame without breaking its intimacy, creating a potent dislocation between the nearness of the sound and the scale of its sources.

Rather than foregrounding any single voice, this is music that distributes attention equally across its materials, allowing background details to assert their presence as much as melody or rhythm. Honig presents listeners with an astute practice that’s concerned less with building from the ground up than with uncovering what happens when disparate textures and structures are brought into close contact with one another. (Alex Cobb, 2026)

Continuing its faithful documentation of the early years of Monolake, Field Records proudly present the first-ever vinyl pressing of seminal 1999 album Interstate. In a kaleidoscopic lattice of micro-rhythms and exquisitely dynamic textural work, Robert Henke and Gerhard Behles fully collaborated for the final time on this record — and created an electronica landmark in the process.

Monolake's evolution from their earlier dub-techno-tinted works saw their exploration of Max/MSP go further out. The duo yielded greater complexity in the behaviour of their sound palette to achieve an organismic quality that remains an enduring influence on so many strands of experimental electronic music today. Interstate is a vivid record that builds up eight different ecosystems of sound and subtly threads elegant grooves through their root structures.

There's a house-like undulation to the low-end driving 'Tangent-I' and 'Tangent-II', but the infinitesimally detailed layers of sound on top swoon from techno synth shimmers to trickling waters, snaking delay trails and pin prick percussion. You can hear the unmistakable, snappy rhythmic thrust of drum & bass driving 'Ginza', but here it's used as an engine for the crispest array of designer percussion and dub-soaked synth chirrups. Across every track, Henke and Behles demonstrate a potent combination, both groovily instinctive and eternally fascinating to try and pick apart.

After Interstate, Behles departed to focus entirely on the development of Ableton Live and Henke steered Monolake towards a leaner — but no less pioneering — sound. Every Monolake record has its own unique context and sound, and the circumstances of Interstate could never be repeated. Capturing the leaps in progress that were being made in digital music production at the end of the millennium, it's an information-rich document of a moment in time that still sounds wildly futuristic 27 years later.

(*Previously unreleased)

Two lost cuts from the orbit of Tony Humphries surface at last, pulled straight from acetates in his private archive and pressed here for the first time. Unearthed like messages from the booth itself, they capture that raw, transitional moment when club music was still inventing its own language night after night.
On the A-side, Kerri Chandler with “Kerri Kaoz Beats”, a stripped, swinging tool full of basement pressure and early-morning intent. No excess, no compromise, just Kerri doing what Kerri does best. Flip it over for Dee Dee Brave – “My My Lover (Tony Humphries Dub)”, a previously unheard Humphries reconstruction that stretches the vocal into something deeper, moodier and unmistakably floor-ready. Spacious, patient, and quietly euphoric.
Two pieces of house history that never made it past the acetate stage until now. Not revisions, not edits, but originals finally stepping into the light. Essential documents from the roots that still point forward.

Destination Unknown is an EP by Unpronounceable born from an archive of sounds collected between 2019 and 2024—sonic fragments that took shape without a predetermined direction guided only by an open idea in constant transformation. The original track conceived as a “destination unknown” composition developed its own independent identity. However precisely because of its fluid and cross-genre nature Unpronounceable chose not to place it within a traditional EP context instead opening it up to a multiplicity of perspectives by inviting five artists to reinterpret it freely without genre constraints.

The result is an EP that unfolds like an alternative map of the same sonic territory where each remix explores a distinct direction transforming Destination Unknown into a multifaceted and ever-evolving experience.

In Carl Finlow’s remix Destination Unknown takes on a strong cinematic and narrative dimension. Inspired by the title Finlow imagines a mysterious journey toward a futuristic dystopian city turning the track into a kind of electro soundtrack—dark yet ironic rich in character and capable of evoking vivid images and motion.

MANASYt pushes the track toward more physical and ritualistic territories focusing on the dark pads and the more oneiric vocal elements of the original. The result is a hypnotic pulsating tribal-industrial reinterpretation where rhythm and sonic material become central intensifying the track’s most visceral qualities.

With Gay Horror the focus shifts to an emotional and narrative dimension. The vocals are deliberately made elusive and undefined while the structure develops through a slow controlled crescendo that recalls the atmospheres of ’90s trip-hop. This version also reflects a long-standing human and artistic relationship conceived as a story that travels through time and reaches the present day.

Kevin Follet adopts a more conceptual approach overturning the perspective of the original track. Rather than working with its main elements he brings the underlying structures to the foreground transforming what usually remains hidden into the core of his reinterpretation. His remix is elegant and deep balancing sound exploration with a strong attention to songwriting.

Closing the EP is GP The Synth Roller with a radical and highly experimental reinterpretation. The track behaves like an unstable system: parameters shift without warning surfaces lose coherence sudden accelerations collide with moments of arrest. There is no resolution only a sonic condition in constant tension eventually condensing into a dark compact mass.

Taken as a whole Destination Unknown is far more than a simple remix collection: it is a collective exploration of the potential of a single composition. Unpronounceable’s original track and the reinterpretations by Carl Finlow MANASYt Gay Horror Kevin Follet and GP The Synth Roller move across electro techno industrial and experimental territories offering six different perspectives from the same starting point. An open journey with no fixed destination where every detour becomes an integral part of the path.

Vaalbara EP - Franco Rossi Sine Space 7 - Release date: 19 June 2026 - Vinyl

Franco Rossi makes his Sine Space 7 debut with Vaalbara, a five-track vinyl EP (including one vinyl-exclusive cut) that lands the Argentine producer firmly in the label's hypnotic and driving orbit. Following recent releases on Soma Records, MindTrip, and Secession, Rossi arrives with a record that feels both unmistakably his and right at home in the Sine Space 7 catalogue. His productions have already found support from the likes of DVS1, Richie Hawtin, and Setaoc Mass.

Opener Rodinia sets out raw and patient, with two rising builds carried by strange synthetic patterns over a darkening drone. Title track Vaalbara drifts on a modulating high synth line, locked into a hypnotic lower-frequency pattern that pulls the two registers into quiet synergy. Paramo keeps the floating quality but leans darker, with raw drums anchored by finely distorted rides and a backbone of dense texture. A Quemarropa pushes further into ear-candy territory. Distorted rides again, punctuated by one strange, track-cracking sound that refuses to let the listener settle.

The vinyl-exclusive closer Mar Adentro is the weight-bearer, a rolling low-end drive punctuated by a sub-heavy synthetic hit you feel in the chest.

Mastered by Robin Van Genechten at Wanton Mastering. Artwork by Norwegian macro photographer Petter Lilleengen.