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The acclaimed compilation series returns with volume 4! Fourteen tracks showcasing the most exciting emerging voices in Belgian jazz, ready to claim a permanent spot on your turntable.

The latest instalment in the celebrated compilation series once again shines a spotlight on the most adventurous and forward-thinking artists emerging from Belgium's jazz scene. Curated by Belgian tastemaker, DJ and broadcaster Lefto Early Bird, the collection continues a tradition of uncovering hidden gems and introducing them to a wider audience of dedicated diggers.

Over the years, the Jazz Cats series has become a trusted barometer of Belgium's ever-evolving jazz landscape. Long before many artists gained international recognition, they first appeared on these compilations, making the series both a discovery platform and a snapshot of one of Europe's most exciting musical ecosystems.

Jazz Cats Volume 4 captures a scene bursting with creativity, diversity and ambition. Across fourteen carefully selected tracks, the compilation explores the many directions contemporary Belgian jazz is taking today. Jazz, hip-hop, electronic music, afrobeat, spiritual jazz and experimental sounds coexist effortlessly throughout the collection.

The opening stretch of the compilation, led by Brussels-based Irreversible Entanglements band member Aquiles Navarro, Ola Tunji and HelenaCasella, offers an early glimpse into a scene that rarely stands still. Their music moves freely between traditions and contemporary influences, reflecting less concern with preserving genres than expanding them. Artists such as Lupo Spaccaro and Kunde, joined here by the raw soul voice of Fred Gata, draw inspiration from hip-hop and contemporary beat culture, yet neither approaches these influences in a conventional way. Instead, they reveal how naturally these sounds have become part of the vocabulary of a new generation of jazz musicians.

Experimentation emerges as another defining thread. KVR and BREAD FOR PIGEONS embrace unpredictability through unexpected textures, shifting atmospheres and confident compositional choices, creating music that constantly challenges expectations. Elsewhere, artists like Gaiko and VLIEGWERK favor immersive soundscapes that reward repeated listening. Whether there's a connection between musical adventurousness and a preference for capital letters remains a question for future research.

At the heart of the compilation lies a strong sense of movement and groove. Ragini Trio and Foutloos approach that rhythm from different angles, yet both build their music around powerful, pulsating foundations. Their tracks need close attention, revealing layers of detail and low-end richness that practically demand to be experienced on a proper sound system.

By the time it reaches its closing chapter, Lucid Lucia, SLAGADER and Kuna Maze bring the focus back to forward motion. Jazz and funk-infused grooves provide a fitting finale, reminding us that however far these artists push the jazz genre, they never lose sight of its ability to connect, uplift and move people.

The result is a body of work that feels remarkably cohesive despite its diversity: a portrait of a scene that continues to evolve through curiosity, collaborationand constant reinvention.

Shoal corrals three original solo productions into ISOTOOP’s fourth record, each demonstrating refinement of the artist’s sound and technique, finished by a fitting retelling of ‘Interlocking’ by Antony Linell.

It begins with helical hypnotism; ‘Strange Blue Knots’ drives directly forward on muscular bass, but pointillistic synthwork creates an aural illusion of a spiral aperture tightening; the landscape remains broad, but focus is drawn down to the loci of motion. All containment is blown away by the incomparable force of ‘Roxellana’. Here, the forward motion is not illusory but the irrefutable command of hurricane tailwinds. Thunder heralds full-band waves of unbridled sound, and though the rudder is surrendered to the billowing storm, no part of the weapon is directionless chaos.

Shoal’s tale concludes with ‘Interlocking’, a step back from the monstrous energy of the preceding track (anything and all would be); attention is built again on guile and quiet magnetism, commonly felt attributes throughout the artist’s repertoire. This concept of restraint as force receives a sharpening by Antony Linell, whose sonic influence is present throughout the record, like fossilised footprints. In the calm, sheltered lee of the mountain, the slope behind the wave’s punching crest, Linell’s calmer, stripped-back version feels like a fireside retelling of a myth; still full of the magnitude of the original events, the space surrounding the action is foregrounded. 

Every tale may be reduced to the same core elements: the hand; the knife it holds; vivid silence presaging the moment of action. Fitting that the tale of three parts is summarised by a fourth, wider perspective.

On her debut album Switchbacks, Nashville-based artist Hannah Cole finds inspiration in the image of the switchbacks – sinuous twists in the road that obscure what's ahead. For a young artist making her way in the music industry, it's a powerful image: we can't really know what's ahead for us but – as Cole has learned – you should honk your horn to tell the world you're coming, and otherwise just enjoy the ride. Melding shoegaze and alternative rock with infectious pop melodies and strains of 90s nostalgia, Switchbacks is a commentary on the pursuit of success and how to protect the pure joy and love that lives at our core.

Across the ten tracks of Switchbacks, Cole swings her gaze at many unsettling aspects of the scramble toward success. Lead single "MMA" explores the ugly side of the music industry through the image of Las Vegas. On the brightly off-kilter "Give," she sings, "I feel like I've become an actor, / A TV pastor / climbing up a topless ladder," explaining that "the pursuit of success can feel like buying lottery tickets all the time for money that you'll never see." "Mechanical Bull" seethes with rage as Cole grapples with being seen as just the "girlfriend" in music settings and not being perceived as an equal to her partner, while on "Pitcher," she's paralysed in the face of wanting to achieve perfection. Later, she shrugs off the need to impress on "100 Bucks," reminding herself that she's enough for the people she loves.

Switchbacks is not only a finely-crafted debut album but also a deeply human artifact, tracing an arc that blazes like a comet to the height of ambition and then leaves you in the shimmer of self-acceptance and contentment. "Success is a moment that comes and goes," Cole concludes, "but I think the joy and experience that comes with making music is something I can take with me forever."

Super limited (1000 Global) Silver Die-Cut vinyl first pressing, shrinkwrapped with hand stamped 'cafe' napkin obscuring the cover. Please preorder asap.

On Cafe Paradiso, Mykki Blanco is completely reborn, trading the persona - driven theatrics of his previous releases for something more interior and exacting. The record draws from the diverse, banal and yet idiosyncratic contexts of the artist's life in transit.

"Chameleonic" is one way to describe the artist known as Mykki Blanco, who has played many roles through his storied career: a rapper, a poet, a magazine editor, an advocate. Perhaps "fearless" better describes him; with high profile collaborations from the likes of Charli XCX, Teyana Taylor, Basement Jaxx, Blood Orange, Big Freedia, Kelsey Lu, Michael Stipe, Arca and Anhoni, Mykki has been recognised as a pioneer of queer-centric hip-hop who resonates across musicians of many genres and generations.

This album is Mykki at their most direct - a coherent statement with collaborator FaltyDL and a massively listenable album for fans of LCD Soundsystem and New York Punk, packaged in striking 'Napkin covered' deluxe vinyl for a super-exclusive first run

Richard Laviolette (1982–2023) released his second record "a little less like a rock, a little more like home" on CD in 2006 on Burnt Oak Records, an artist-run co-operative and independent record label co-founded by Brad MacInerny, Ryan Newell and jiaqing wilson-yang, active between 2005 and 2007. Burnt Oak was based out of a rented house at 127 Grange Street in Guelph, Ontario, where the collective lived, rehearsed, hung out, and hosted all ages shows, also recording each others’ music, packing and mailing CD orders, and silk-screening and sewing the covers for the albums they released.

Combining folk, rock, and country influences, a little less like a rock, a little more like home is a beloved lo-fi classic of brilliant songwriting and powerful vocals, animated by Richard’s deeply held anti-capitalist, anti-colonial, DIY, and community-based ethos. It includes some of Richard’s most timeless songs and performances, including the unclassifiable magic of Qq, the shockingly intimate and utterly cosmic Ants vs. Universe, and the beautifully fingerpicked folk-song Oncoming Trains.

You’ve Changed Records is proud to present this first ever vinyl pressing of "a little less like a rock, a little more like home" . This Limited Edition LP features audio newly mastered for vinyl by Kevin Parks, recreated artwork by artist sophia bartholomew, and includes a full lyric insert

Ecology Division is a new compilation from Bastard Jazz that brings together a network of producers and musicians working across jazz, soul, electronic, and beat-driven styles. Featuring artists from Brooklyn, Chicago, Montreal, London, Lisbon, Melbourne, and Ludhiana, the release highlights a core group of collaborators and peers connected to the label’s extended orbit. The project is presented with cohesive visual direction inspired by vintage field guides and naturalist illustration, with each track paired to a distinct animal. This framing positions Ecology Division as a curated snapshot of an active, evolving creative community rather than a traditional compilation.

The release features contributions from Simon Mavin (of Hiatus Kaiyote), Sholto & David Bardon, Danny Scott Lane, Rachel Kitchlew & DOUGH, Lapgan, Korovo, Birocratic, Kartik, Nick Marks, and Pimenta Caseira. Collectively, these artists have released music on respected independent labels including Ninja Tune, Brainfeeder, Mr. Bongo, Melting Pot Music, WRWTFWW Records, and Moon Glyph, among others—underscoring the compilation’s reach across established global scenes.

Eden Samara grew up in the mountains of western Canada, writing folk songs and performing in the theatre. Following a trip to Europe where she had her first formative clubbing experiences, she relocated to London in 2019 where she’s become a consistent presence and voice in the city’s underground, collaborating with artists like Parris, Ciel and Loraine James and earning praise from The Guardian, Pitchfork, Rolling Stone, Crack and DJ Mag.

2022 saw Eden release her debut album Rough Night on Local Action, blending freaky club-pop, introspective R&B and more while collaborating with leading scene figures TSVI, Call Super and Shanti Celeste. Described by Dazed as ‘an embarrassment of riches’ and by Mixmag as one of the best albums of the year, in Eden’s words it was simply ‘a tragicomedy in seven scenes and an interlude’. She’s downplaying things: to us it was a rich tapestry that explored everything from fleeting moments in smoking areas to the Madonna-whore complex. Both, for better or worse, still make the world go round.

On her second album Odyssey, Eden brings more elements into her ensemble (jungle, choral singing, live harp) while honing her song-writing – it’s an expansion and a tightening at the same time. Inspired by epic literary works like Homer’s Odyssey, The Alchemist and The Picture of Dorian Gray, the album reimagines the archetypal quest through a personal lens: a healing journey amid the collapse of close relationships to addiction, mental illness, and the weight of codependency disguised as love. In Eden’s words: 'This work is a narrative and sonic expedition - part myth, part memoir - that traces my path through the emotional aftermath of watching loved ones struggle with drug addiction and mental health crises, and the impact it
had on my own mental wellbeing. The album addresses substance abuse, toxic relationships, and the internalised belief that love must come through sacrifice, even at the cost of one’s selfhood.'

For this special release, Barcelona’s Lapsus and London’s Local Action join forces for the first time in their respective journeys, reflecting the affinity between both platforms and their shared vision of contemporary electronic music.

Layered guitars, synths and wordless vocals set the scenery in this epic, beautiful and introspective solo debut by musical wanderer Lynn Wright.

Wright, who has mostly eschewed developing a fixed artistic identity throughout his already long career, has preferred to remain on the periphery of collaborative projects and behind the scenes. It took until recent times for him to make “Before The Sinking Plains”, which arrives as his first solo recording after decades of traversing underground scenes in New York and beyond. Wright defines the album as “a collection of atmospheric compositions structured as songs or songs masking as atmospheric compositions.”

The album began during a long neurological illness as guitar loops Wright would make each morning in his apartment and let play quietly in the background. At some point he began recording the ones he liked and adding layers of treated guitars, vocals, and synths, and then, eventually, giving them defined structures. The album features none of the aggression of his louder bands and improvisatory projects, but retains the dark hues.

Before The Sinking Plains lives on the familiar peripheries of our post-everything sound world, with elements of everything from washed-out dream pop and atmospheric drone works to sparse noir folk and minimalist vocal composition moving within the linings of Wright's subtle yet grand pieces, creating a perfect backdrop for watching the sky merge with the vast open fields.

Since relocating to Berlin some years ago from New York, he has worked closely with composer Simon Goff, who mixed his current album, as an editor, engineer and composer on various film and recording projects. He also plays lap steel guitar in Swans bassist Dana Schechter’s band Insect Ark. This is just the top of the iceberg when it comes to Wright's collaborations and projects throughout the years.

The live EP arrives on vinyl via a collaboration between boutique label Crafting Room Recordings (Maximilian, Soft Top) and indie festival Left of the Dial. The live record follows a massive 2025 where a limited vinyl run of the Spill EP and debut EP 'Hullo, Reality!' both sold out soon after their releases. With champions already found at BBC Radio 6Music (Steve Lamacq, Emily Pilbeam) and earning a spot on the 2026 artists to watch lists for DIY, DORK, and Far Out, ELLiS.D is rapidly cementing his status as one of Europe's most striking, tireless and "sought after live acts" (Far Out Magazine). "As our first sold- out headline show outside of the UK, it felt like a real milestone for myself and the band. We wanted to capture the amazing connection we've felt playing to European audiences, with nowhere better to do it than the basement of a boat in Rotterdam. Each of the tracks on the EP have been staples of our live set for a long time but switching into the mindset of performing and recording for the EP gave us a fair few jitters pre-show. Once we crashed into 'Chasing The Blue' that all melted away. Elmo on sound did a brilliant job capturing the energy of the performance and the audience gave us the response we were hoping for!"

The deluxe 10th anniversary edition of case/lang/veirs features the new track "Accidental Tattoo" and twelve never-before-released live recordings alongside the original studio album from supergroup of singer-songwriters Neko Case, kd lang and Laura Veirs. Released in 2016, case/lang/veirs is a true collaboration between three phenomenal, self-driven artists: "the strongest voices in their field - lang the full-voiced seductress, Case the hurricane, and Veirs the wry storyteller" (Pitchfork). The women wrote all 14 songs and shared lead vocals equally, sometimes even within the same track. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. "There"s a generosity of spirit to case/lang/veirs," NPR praised upon the album"s release, "a worthy extension of three tremendous catalogs, in which three great singer-songwriters sound enhanced and invigorated by the challenge of living up to each other"s legacies." They worked over two and a half years in Portland, Oregon, where lang and Veirs both live, sometimes in lang"s loft with a view of Mount St. Helens, others in Veirs" dining room or backyard studio. The album was written from the ground up without any real plan beyond a desire to make music together and a faith that it would reveal itself. They produced the album with Tucker Martine, at his Portland studio in November 2015.

The deluxe 10th anniversary edition of case/lang/veirs features the new track "Accidental Tattoo" and twelve never-before-released live recordings alongside the original studio album from supergroup of singer-songwriters Neko Case, kd lang and Laura Veirs. Released in 2016, case/lang/veirs is a true collaboration between three phenomenal, self-driven artists: "the strongest voices in their field - lang the full-voiced seductress, Case the hurricane, and Veirs the wry storyteller" (Pitchfork). The women wrote all 14 songs and shared lead vocals equally, sometimes even within the same track. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. "There"s a generosity of spirit to case/lang/veirs," NPR praised upon the album"s release, "a worthy extension of three tremendous catalogs, in which three great singer-songwriters sound enhanced and invigorated by the challenge of living up to each other"s legacies." They worked over two and a half years in Portland, Oregon, where lang and Veirs both live, sometimes in lang"s loft with a view of Mount St. Helens, others in Veirs" dining room or backyard studio. The album was written from the ground up without any real plan beyond a desire to make music together and a faith that it would reveal itself. They produced the album with Tucker Martine, at his Portland studio in November 2015.

The second volume of this (already) cult series of British proto-metal compilation albums. Every artist on here was a regional band in their local underground scene of the late 1960s/early 1970s. The main thing that differentiates this series to any other, is the fact that none of the artists included had any kind of commercial release during their existence (apart from Fusion Farm, who self-released an extremely rare private press LP titled 'Rush Job' in 1971). All the artists were discovered after extremely lengthy searches of old music magazines, local newspapers, concert posters, government agencies.... By any means possible! It was a lot of work, but the results speak for themselves. The one thing that joins all these bands together (apart from being exclusively British), was their desire to play as loud and heavy as possible. This was a magical era in rock music, where Black Sabbath were the undisputed kings, but the industry simply didn't want to recognise the countless other band that existed in their gloomy wake. All of the recordings on Yeah Man, It's Bloody Heavy! are taken from demos, whether originating from crusty old 1/4 inch tapes, dusty acetate discs or third generation cassette tapes. Basically, whatever format was available. As a result, sound quality varies, though we did our utmost to get these precious artefacts sounding as killer as possible. For instance, Bonehead were close friends of Led Zeppelin. Their guitarist/vocalist Paul Lockey had previously played with Robert Plant and John Bonham in the Band Of Joy. Their track, 'Free To Escape', was actually an audition tape for Atlantic Records, which had been instigated by Robert himself. Unfortunately, the band broke up not long after the recording. So, their recording is top notch, whereas others were taken from rehearsal tapes (such as Fusion Farms' - Keys To Hell). But the main thing is, there's a spirit that unites them all. Sit back, roll up a fat one and let your mind be blown by the obnoxious sounds and sheer weight of vintage gravity that is: 'Yeah Man, It's Bloody Heavy! Vol 2'.

Die schwedische Künstlerin Sibille Attar kehrt mit ,Amor Fati" zurück, ihrem ersten englischsprachigen Album seit fünf Jahren. Attar, die bereits von Pitchfork, Stereogum, The Line of Best Fit, Clash und BrooklynVegan gelobt wurde, hat sich als eine der faszinierendsten und von Kritikern am meisten gefeierten Stimmen des alternativen Pop in Schweden etabliert. ,Amor Fati" - äußerst unabhängig und komplett in Eigenregie produziert - begann als Versuch, ein reines Liebesalbum zu schaffen - offenherzig, euphorisch und ungekünstelt. Doch während sich die Songs entfalten, beginnen sich emotionale Gewissheiten zu verschieben. Das Album, das in Schweden, Belgien, Deutschland und den Vereinigten Staaten entstanden ist, beschäftigt sich mit Intimität, Sehnsucht, Vertrauen und den seltsamen Wegen, auf denen sich Liebe im Laufe der Zeit neu formt. Es beginnt euphorisch, wird schnell kompliziert und weigert sich, sich für irgendjemanden der Einfachheit halber zu vereinfachen - vielleicht weniger beruhigend, aber dafür umso lebendiger. "madly wide-eyed, swooning songs" - Pitchfork "leaps out of the speakers so vibrantly that the band seems to be playing in the same room with you" - Stereogum "a masterpiece in artistic misery" - The Line of Best Fit "mournful and absolutely gorgeous" - BrooklynVegan ENG Swedish artist Sibille Attar returns with Amor Fati, her first album in English in five years. Previously praised by Pitchfork, Stereogum, The Line of Best Fit, Clash, and BrooklynVegan, Attar has established herself as one of Sweden's most fascinating and critically acclaimed voices in alternative pop. Fiercely independent and entirely self-produced, Amor Fati began as an attempt to make a pure love album -open-hearted, euphoric, and unguarded. But as the songs unfold, emotional certainties begin to shift. Written across Sweden, Belgium, Germany, and the United States, the album explores intimacy, longing, trust, and the strange ways love reshapes itself over time. It begins in euphoria, gets complicated fast, and refuses to simplify itself for anyone's convenience - less reassuring, perhaps, but far more alive. "madly wide-eyed, swooning songs" - Pitchfork "leaps out of the speakers so vibrantly that the band seems to be playing in the same room with you" - Stereogum "a masterpiece in artistic misery" - The Line of Best Fit "mournful and absolutely gorgeous" - BrooklynVegan

Ondrǣdan is the second aesthetic proposal by Sediments’ owners Pajaro Dune. This work is the result of a deep artistic experimentation and a thorough compositional refinement. Some of these materials have been distlilling in the studio for almost a decade of sound engineering and constant debate to make the experience much more profound.

From old English language, ondrǣdan it is a direct reference to our most primordial fears. Both an emotional yearning and a postapocalyptic kubriesque tale, the five works of this record capture five shades of rhythm and mood, where ambient, dub and downtempo meet in immersive narrative experiences. All them crowned with the luxurious sculptural artwork by Blanco Anyò who forces us look beyond the visceral to intuit the transcendent.

Pajaro Dune is the product that combines the creative minds of Jaime Romero aka Estrato Aurora and David Ortolà aka Syoqh aka d_o_ppelgaenger. More than half a life producing together from València, their multifaceted approach crystallizes in renowned works for Alpenglühen, Grabaciones Perpendiculares, The Monkey Bar, Eleve Music and now their own label.

|| We
become more from what is left,
deliver else than just the now,
build sound stories for the then. ||

Rasco are Eden Atiya on guitar and vocals, Gaya Wajsman on bass and vocals, and Itay Hamudi on drums. Named after Charlie Megira’s “At the Rasco”, the trio draw on the melodic language of sixties surf, garage rock and pop, alongside the heavier textures of shoegaze and psychedelia. Influenced by artists including The Cramps, The Beach Boys, Elvis Presley and April March, their music is defined by electric guitar lines, close vocal harmonies and direct, melodic songwriting. The contrast between urban life and the natural world remains central to their work, reflected in songs that move between raw rhythmic energy and more intimate, atmospheric arrangements. Following their debut album Dmaot, Rasco’s forthcoming second album develops this sound through a broader dynamic range, more spacious production and a more focused approach to songwriting, while retaining the warmth and immediacy at the core of the band.

For 13 years of porn, fun and games, Berlin-based event series and label Pornceptual presents a nine-track VA on double vinyl, bringing together artists from across the international queer scene. Each contribution leaves a distinct and uncompromising fingerprint in the grooves. This marks the third release in the PRNCPTL VA series. This is music made for the dancefloor, for the dolls, for the lovers, for the freaks and the queens.

With S.I.K. (Sociedad Internacional de la Kumbia), Conjunto Media Luna maps a constellation of sounds, friendships, and underground connections stretching across Colombia, Mexico, the United States, and beyond.
Produced in Bogotá between 2024 and 2026 by Iván Medellín, the album draws energy from rebajada culture, low-end frequencies, vinyl obsession, rap, and the hypnotic pull of cumbia. Accordion melodies, sampled fragments, drum machines, and sound system pressure intertwine throughout the record, creating a world where tradition is constantly reimagined through contemporary urban culture.
Featuring contributions from artists such as La Gallo 3:20, Turbo Sonidero, Amantes del Futuro, Mextape, León Pardo, Mismo Perro, and Hito de Piedra, S.I.K. unfolds as a dialogue between scenes that have spent years exchanging records, ideas, aesthetics, and frequencies.
The artwork comes from Mateo Rivano, one of the key visual architects of Bogotá's experimental tropical underground, whose imagery perfectly captures the album's blend of street mythology, sonic futurism, and tropical psychedelia.
Part sound system manifesto, part love letter to the global kumbia underground, S.I.K. is dedicated to everyone expanding the culture from their own corner of the map, through music, dance, graphics, fashion, and noise.

Edition of 600 copies, not sealed

Made with Love by Little Beat More 2026
Published by Little Beat More

With S.I.K. (Sociedad Internacional de la Kumbia), Conjunto Media Luna maps a constellation of sounds, friendships, and underground connections stretching across Colombia, Mexico, the United States, and beyond.
Produced in Bogotá between 2024 and 2026 by Iván Medellín, the album draws energy from rebajada culture, low-end frequencies, vinyl obsession, rap, and the hypnotic pull of cumbia. Accordion melodies, sampled fragments, drum machines, and sound system pressure intertwine throughout the record, creating a world where tradition is constantly reimagined through contemporary urban culture.
Featuring contributions from artists such as La Gallo 3:20, Turbo Sonidero, Amantes del Futuro, Mextape, León Pardo, Mismo Perro, and Hito de Piedra, S.I.K. unfolds as a dialogue between scenes that have spent years exchanging records, ideas, aesthetics, and frequencies.
The artwork comes from Mateo Rivano, one of the key visual architects of Bogotá's experimental tropical underground, whose imagery perfectly captures the album's blend of street mythology, sonic futurism, and tropical psychedelia.
Part sound system manifesto, part love letter to the global kumbia underground, S.I.K. is dedicated to everyone expanding the culture from their own corner of the map, through music, dance, graphics, fashion, and noise.

Edition of 600 copies, not sealed

Made with Love by Little Beat More 2026
Published by Little Beat More

After orbiting the sun for six years, HMD returns in collaboration with Omformer to revisit and expand upon the enduring compositions from HMD002, Ascending and Distance, originally released in September 2020 (Late Lobster Theremin distribution). Since then, the search has been on for the right producers to breathe new life into these beloved pads and melodies. The remixers each build upon stems from Ascending and Distance, approaching the material with complete creative freedom.

Released spring 2019, HMD002 resonated through its airy, embracing, and intricately woven sound. In the years that followed, the release found its place within a rapidly evolving club music landscape, while Omformer also continued to shape their identity through releases on UTE.Rec and performances across the world.

HMD006 brings together a collection of forward-thinking artistic perspectives on today’s fast-tempo progressive club landscape, while remaining equally suited to afterparty sofa conversations or late-night kitchen burnouts. Each remix is soaked in rich, hopeful reinterpretation, combining inventive sample work, distinctive percussion, and the personal creative oddities of its four contributors.

Remixers

Alvar (Teo Bachs, Ekkel) — Co-founder of UTE.Rec
Mikkel Rev — One half of Omformer and producer on UTE.Rec
Human Space Machine — Nous’klaer Audio, De Lichting
Joachim Krüger — HMD Records

The late Matt Watts was an American songwriter/storyteller and performer from Montana residing in Antwerp and Brussels, Belgium. He ws the son of a catholic priest and mother with Cherokee roots in the Carolinas.

He first began using the electric organ to write songs and also recording them on cassettes when he was 11 years old. When he was 13 his mother bought him an electric guitar from a pawn shop in South Carolina. Using a karaoke machine as an amplifier, he began writing and performing and recorded his first album at age 15 in a small studio in Great Falls, Montana.In addition to writing and performing his own music, he began performing and touring with various local Punk & Noise bands.

In 2007 when he was 19, he moved to Antwerp, Belgium. Since his arrival he has worked and performed with Zita Swoon Group, become a member of Rudy Trouvé's I H8 Camera, translated Simon Allemeersch and Rudy Trouvé’s critically acclaimed piece SCREEN into English, formed The Calicos (now Humo’s Rock Rally winners under Quinten Vermaelen) as a one time backing band, worked with many artists and songwriters (including Emillina Torini & The Colorist, The Love Substitutes, ..) and toured and released various widely acclaimed solo albums and a duo album with Nicolas Rombouts on Starman Records.

Highlights for sure were “How Different It Was When You Were There” (2017 - **** De Standaard), produced by Nicolas Rombouts (ex-Dez Mona) and featured guest performances by Nathalie Delcroix and Bjorn Eriksson (Eriksson Delcroix) and Stef Kamil Carlens. Its excellent successor “Queens” (produced by Stef Kamil Carlens and Nicolas Rombouts) featured a.o. the late Sandy Dillon and Jim White.

Sadly Matt Watts passed away too soon in June 2024. “Restless Kind” is the final album readied shortly before his death in a production by Bai Kamara Jr. Another astonishing collection of intimate Americana songs with lyrics as fascinating miniature novels.

Classic Johnny Clarke album from 1980 restored and re-mastered for best ever sound. Features the hit singles "Every Knee Shall Bow" , "Can't Keep A Good Man Down" along with the Jah Shaka sound system anthem "Bad Days Are Going".
Produced by mixed at Channel One, King Tubby's and NYC by Bunny Lee, Brad Osbourne & Johnny Clarke
'Originally Mr Clarke' delivers in full on every track making it one of THE essential reggae album releases.
Jamaican artist of the year in both '75 & '76 Johnny signed to Virgin Records and released two highly acclaimed albums for Virgin's Front Line label. Still performing and recording today, Johnny also tasted crossover success when his 'Everyday Wondering' hit made number 2 in the UK charts with it's Rupie Edwards 'Irie Feelings' dub deconstruction while Johnathan Richman turned Johnny's Earl Zero penned 'None Shall Escape The Judgement' hit into the international chart topper 'Egyptian Reggae' in 1977.

"There are two versions of this album," says Hollow Hand's Max Kinghorn-Mills. "But there's only one that exists." Kinghorn-Mills is reflecting on a period when he was at something of a crossroads. He had written songs for his forthcoming fourth album but, after coming back off tour, something needed to change. “When I listened back to where I’d left the album, it wasn't exciting enough for me,” he says. “I was like: that's not really what I want to do anymore.” Since releasing 2023’s Your Own Adventure – which drew acclaim from the likes of Mojo, Uncut, and Shindig! – he found himself touring and collaborating with a variety of other artists. Hollow Hand became the house band for Caitlin Rose on tour, while Kinghorn-Mills was also collaborating with Aoife Nessa Frances and playing in her touring band. There was countless exposure to incredible Irish bands along the way, and then came a sold-out European tour with Hollow Hand supporting MJ Lenderman.

For the first time, Fakear has released an album that speaks primarily of humanity, emotions, and himself. Simultaneously imbued with nostalgia and hope, love and anger, loneliness and celebration, it takes the form of a sensitive autobiography rooted in the adolescence of an emo metalhead skater searching for his place in the world. Facing him, the adult writing these tracks tries to convince himself that he has found his balance. If we were to place this album within the current landscape, we would have to look towards the resurgence of bass music and emotional electronic music championed by artists like Fred again.., Four Tet, Bonobo, Sammy Virji, and Camoufly.

2026 Repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

We hope that you enjoy the trip into the Bayou.

For close to a decade, B’licious has been best known as the voice ofThe Heliocentrics, the London psych jazz and funk collective whose collaborators include Madlib, Mulatu Astatke, DJ Shadow, Gaslamp Killer and Lloyd Miller, with stages taking her to Glastonbury, Roskilde and Worldwide festivals alongside artists including Marshall Allen and Bilal. Her appearance on Strut Records’‘Nuclear War’, a tribute to Sun Ra also featuring Marshall Allen, Knoel Scott and Bilal, is the latest marker of a body of work built over years on some of the most respected stages in UK jazz and soul. Following her 2022 solo EPSurrender, ‘Apple’ is the lead single from her debut full-length album,Serpent Dreams.

‘Apple’ was co-produced byDan Smith of The Noisettesand engineered bySie Medway-Smith, whose credits include Björk, Depeche Mode, Gang of Four and Massive Attack. On the flip side,SLICKnBOBBY— known for chest-rattling basslines and immersive, dubbed-out rhythms — deliver a live reworking that shows off their skills perfectly, drawing on a background that includes performing alongside Wally Badarou and frequent collaborations with Liam Bailey and Greentea Peng.

012 proudly presents 01211, a release marking the first-ever collaboration between Claudio PRC and CONCEPTUAL. A long-anticipated meeting of two like-minded artists, Syklit unfolds as a shared exploration of depth, restraint, and sonic research, supported by a masterful revisit by Marcal.

Built around the concept of cycles as continuous motion and transformation, Syklit develops through three original cuts that function as interconnected chapters of a single narrative. Hypnotic structures, stripped-back grooves, and carefully sculpted sound design define the EP. It blends techno sensibilities with an introspective, atmospheric approach. On top of that, Marcal delivers a striking reimagining of Sykli I, merging raw tribal energy with cutting-edge, sci-fi-driven sound design to unleash a relentless groove made for peak-time, late-night sessions.

The result is a cohesive and powerful release, equally suited for immersive listening and deep, forward-thinking dancefloors, celebrating a meaningful first-time collaboration and uncompromising shared sonic visions.

"The electroclash genre sure has been having a bit of a renaissance moment. During its first coming an odd 25 years ago the French act Sweetlight was a favorite over here. Originally active between 2002 and 2010, they quickly positioned themselves within a refined strand of the global underground scene: inspired by 90s acid house club culture, they rose to prominence by releasing a sparse selection of original tracks and a multitude of remixes that were both dancefloor-effective and immediately recognizable. After the EPs stopped coming, the project seemed to have faded. But their tracks never left our bag: they combined minimalism with ambiguous elegance and retained a distinct, timeless quality, easily transcending the turn-of-the-century style they were most closely associated with. We are delighted, in what we consider nothing less than a full-circle moment, to release "Selected Recordings: 2004 - 2006" and shed light on an underrated yet, in our eyes, absolutely essential project. ALT022 is an anthology release featuring four extensive, remastered cuts. Abusator, arguably the act's hallmark track and a crossover hit, kicks off the EP. It is joined by Mecaniques Remontees, which opened the milestone Suck My Deck mix by Ivan Smagghe, and Too Shy, both initially part of the same EP back in 2004. Noir Comme Le Beat, an unreleased curiosity from the same era, closes the record. You will find dark, endless, ever-modulating arpeggiator basses, Detroit-via-Paris chord progressions, and spartan drums. The work is, in the artists' own words, low-profile, detail-oriented, and built for late hours. It's an ideal compilation or - depending on the case - introduction, especially now that new work is rumored to be finally on its way."

2026 Repress

Rhythm by Nature is back with Somefink Old, Somefink New, a three-tracker from seasoned producer Grant Dell that bridges past and present: sketches first laid down in the mid-2000s rediscovered and reworked alongside a brand-new cut, forming a dialogue between memory and renewal.

The EP opens with Feel Me?, a deep tech construction driven by a heavy low-end, its groove unfolding patiently while flashes of disco glimmer through the framework. On Light of Day, Dell shifts into full deep house territory — spacey pads and floating strings suspended across open structures until acidic stabs break through, twisting the track into brighter, playful directions. Closing with Death Disco in Dub, Dell channels the hallmarks of his Tribalation project: dub-infused atmospherics, light percussion and echo-drenched fragments circling around a hypnotic core, equally suited to open or dissolve a night.

With Somefink Old, Somefink New, Rhythm by Nature traces the arc of an artist deeply embedded in the underground, reuniting past forms with present gestures in a release that reaffirms the label’s consistency in quality and commitment to timeless club music.

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

No Drama, the imprint founded and curated by Roy Rosenfeld, continues to expand its artistic vision with a sixth release valuing originality over convention. The label has steadily established a platform for forward-thinking electronic music, inviting artists to challenge familiar structures while remaining grounded in musical substance.

The latest release features two tracks by internationally recognized producer Yuvée, known for seamlessly blending live instrumentation with deep house, melodic elements, and organic percussion. While Yuvée appears solo on one track, the other is a collaboration with Omer Inbar, who performs under the name Oi.

The opening track, Lava Core, presents the sound that has earned Yuvée international recognition. Tribal influences unfold through carefully crafted percussion, while evolving textures occupy every part of the stereo field. Every section advances the narrative, allowing the arrangement to grow naturally while maintaining dancefloor impact from beginning to end.

The second piece, Blue, brings Yuvée together with Oi, an internationally acclaimed DJ, producer, and sound engineer whose work bridges psychedelic vibes and groove-driven electronic music. The collaboration introduces greater club energy. Tonal and atonal elements interact with shifting harmonies and evolving instrumental phrasing, creating constant movement without losing coherence.

Rather than relying on formulas, the duo demonstrates the value of artistic perspective in an era increasingly shaped by technological automation. The result is music that balances intellect with feeling, offering a listening experience that remains equally compelling on a festival sound system, in a club, or through focused listening at home.

With its sixth release, No Drama reinforces its commitment to artists who expand the language of contemporary electronic music through craftsmanship, authenticity, and creative ambition.

»Ampersand Curve« initiates a brilliant new phase of work by North Manchester’s most elusive artist, best known as Michael J. Blood. His string of ruffkut club bangers, as well as jams with Rat Heart & Samizdat over the past seven years, have made his records a true cult property, and now find him signed to one of the UK’s most foundational techno imprints – more of which later this year.

But under the Sees aegis, he swims in very different waters, following his instincts to use the studio-as-instrument to produce his most impressive, deep-minded work, made from – and for – the heart. Where MJB was all about off-the-cuff club jams cooked for immediacy, his new stylistic switch reveals myriad worlds of influence swirling under the hood, where interrelated spheres of spiritual jazz, dub, ambient, and concrète more clearly light up his rich inner world.

As the story goes, MJB was burgled a few years back and lost most of his studio just as the project was hitting its stride. It prompted a personal review of his practice, re-learning new kit, allowing him to bend the rules. Adopting a sort of first-thought, best-thought approach to composition, the new methodology fuelled a renewed imagination in flux, or what he identifies as Sees: a personalised way of conveying complex emotions. That undoing of musical and mental conditioning opens the walls of his music to vast new horizons. Opener »Ithaca« fathoms sonorous midnight jazz with 10 mins of a plangent, searching sax solo in HD widescreen, like some alternate version to the Blade Runner Love Theme, while a resonant vocoder soliloquy, »Unseem«, reaches into space harmonised between Alvin Lucier and Ron Trent, and »Sheer« chases the devil out of labyrinthine dub dimensions.

The floating dream architecture of »Caprices« caps the LP’s underlying narrative and painterly qualities with a romantic conclusion of blushing pads and shivered, metallic echoes of the subtropical that suggest a coming-to-terms with worries, refreshed and good to go again.

Amelie Lens' debut album 'AURA' is the first full-length studio album to come from the Belgian artist despite being one of the most respected and sought-after acts in electronic music today.

Of the album, Amelie says:

"'AURA' is my story. Aura is about the connection between the crowd and me. Music has always been my escape, my way of turning my emotions and energy into something new. When I was younger, I would disappear into nightclubs and create myown world in my head. Being in the nightclubs gave me this feeling of belonging somewhere, I felt connection and freedom I had never experienced before. That feeling changed my life completely. So this album really reflects that whole journey. From playing tiny local clubs and driving myself through the night for gigs, to standing on huge festival stages, becoming a mother, building EXHALE and learning how to balance it all in life.

I wanted 'AURA' to feel emotional but still powerful, uplifting but raw. From big festival tracks to the trippy tracks I'd play at 4am at RSO. Although making this album is one of the biggest things I have ever done in my life, I wanted to keep it light and somehow playful. Because that is also how I am as a person. This is the most honest version of myself I've ever shared. I hope it brings some light, happiness and connection to others as it does to me. Because Aura is and always will be about my connection to you."

The album will consist of 11 brand new tracks, all produced by Lens - with one stellar collab, who will be announced in due course.

For the orbit travelers comes the new instalment by the Spanish maestro Do or Die. This very well-known figure in the world of non standard audio frecuencies has crafted 4 trance infused weapons for different occasions and settings one might find themselves in. The appropriate clothing attire is needed for this space journey without any holes or tears in, so it can be assured no outside force will penetrate through. All four tracks has been crafted immaculately with the unified idea of orbit travel and translates this epic journey well. Ahead of the listener is an important trip from the moment needle will touch the grooves to the very last second of the title track located on the B side. It is a great honor to welcome this talented artist to the label family roster and marks a beginning of a beautiful story that will be told through the medium of music.

You have to imagine that American ambient obsessive zake never actually steps away from his machines, let alone turns them off. He is one of the most prolific artists in any genre, and his Past Inside The Present label is where it all gets served up. Next up is a lovingly assembled picture disc with fitting artwork that represents the sounds inside: sorrowful but charming drones, long-held chords that pass at glacial speed like clouds on a windless day. There is just one piece per side, and both are signature meditations and mindfulness exercises that leave you feeling completely at peace with the world, no matter what was going on before you hit play.

Bristol's Ben Pest returns to Co-Accused Records with four drops of full-pelt electro and techno on Lacquer of Empathy EP. A respected live artist and producer known for his production nouse, he’s taken his sound to Co-Accused’s Glasgow parties, Tresor and Glastonbury and released across respected imprints that include Mechatronica, Cultivated Electronics, I Love Acid and more. This release is exactly what he’s become known for turning out: rave-touched and highly effective dancefloor material.

The EP opens with 'D-Transfer', a pacey piece of machine funk which leads into ‘Mam Assid’ which right off the bat is an intensive, driving acid techno number. Over on the B Side, ‘Shruthi EB’ is a twisted machine workout, building and rebuilding through distorted synths before locking into a relentless groove. After being self-released on digital format on his own label The Glutch now gets a vinyl pressing on this EP riffing off a mechanical melody over an air-tight beat. To close out the EP is a digital bonus track with a ‘Rolling Edit’ of Shruthi EB.

This vinyl compilation brings together some of the key pillars of Mexican Tribal and celebrates the artists who helped shape one of the most distinctive languages in electronic music made in Mexico.

Produced by Sabotaje Media, Trucha Soul Records, and La Chekera Records, the record works as a physical archive of Tribal's history, connecting generations, territories, and visions that have kept the genre alive and in motion.

Colorize presents Higher Note, the highly anticipated new album from Sound Quelle, a defining sound in modern melodic electronic music.
Across the album, Sound Quelle showcases his signature blend of beautiful harmonies, atmospheric melodies and driving basslines, crafting a richly detailed body of work that balances emotional depth with dancefloor energy. Building on a campaign already supported strongly by SiriusXM Chill, Vintage Culture, Diplo and Nora En Pure, Valery Lebedev continues to affirm his place as a leading voice in melodic electronic music. With over 50 million streams across DSPs, releases on Armada Music, Black Hole Recordings and Enhanced Music, and long-standing support from Above & Beyond, Ferry Corsten, Markus Schulz and Paul van Dyk, Higher Note stands as a refined and deeply musical statement from an artist at the height of his creative powers.

For its 24th release, Daydream welcomes rising talent Soha to the label. Across four refined cuts, the Belgian artist explores a deep and understated sound built on lush textures, ethereal pads and dense, rolling grooves. The EP unfolds with patience, balancing dreamy atmospheres and restrained club energy. A timeless collection crafted for both intimate listening and late-night dancefloors.

A refined and deeply immersive vinyl release that captures the essence of timeless underground electronic music. Akbal Music celebrates a very special moment in its history with the addition of renowned Romanian artist Barac, a key figure within the international minimal and rominimal scene. As part of this collaboration, Akbal Music presents I Close My Eyes In Order To See EP. This release will be presented exclusively on a limited 180g audiophile vinyl edition as part of Akbal Music’s official 20 Years Anniversary Pressing series, reinforcing the label’s commitment to music collecting culture, analog sound, and the unique sensory experience that vinyl continues to represent within the underground electronic music community. More than a release, this EP symbolizes a meeting point between generations, visions, and sonic identities, honoring Akbal Music’s past while projecting its future through a carefully curated, elegant, and deeply emotional musical journey.

If It Aint Jazz, is about quality over quantity, inviting world class musicians and producers to bring a modern edge to jazz and soul roots...

Back for Volume 5 of their vinyl only series, this time they invite young Australian artists Close Counters. The duo effortless blends jazz, disco and soul with house and broken vibes for yet another killer 12".

On the A side, 'Sunshine' flips a classic gospel cut into a euphoric anthem with a raw shuffling groove that will work for the house heads and broken beat and garage fans.
'Soul to Soul' features a catchy bassline, vocal chops and added synth parts that build into a peak time disco weapon.

On the flip side, 'House of Lucien' and 'Bruk of Lucien' gives us two electric grooves that have already been setting dancefloors on fire !