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Next up on the Humanoid series is a debut release from an extremely talented new producer hailing from Newcastle, UK. Mas has delivered 3 tracks of raw machine music with depth and precision, sure to establish him as a force to be reckoned with on the electronic music scene.

Collecting Orders for 2026 Repress

Music for Swimming Pools has put together their first-ever compilation here and it's a self-titled series that launches with Volume One. It's an assembly of their friends and label family members in with newly discovered gems.

Some cuts are exclusive and some of them hint at projects to come, while some are making vinyl debuts. Pete Herbert kicks off with a seductive downbeat jam, Max Essa's 'Sacaton Skylines' is a new age delight and Gafas Du Soul lays down deep sunset house vibes on the gorgeous 'Embers' amongst many other highlights. A fine first collection for sure.

Following their debut 7" on Les Disques Lexi (2021), Musica Mosaica expand their unpredictable geometry. In their 'laboratorium dilettanti' notes and musical phrases weave a mind boggling tapestry, in which sounds often find themselves in awkward situations. "Clock In, Clock Out" refers to time as a key element both in musical composition and in the organisation of labour. New causes, new consequences.

A defining transmission in the history of Skylax Records. Originally released across different moments of the Skylax catalogue, these recordings are now assembled as the final chapter of the Skylax House Explosion series — a project exploring the architecture, memory and survival mechanisms embedded within house music culture. The record opens with Move D’s “Outer Rim 64”, originally released in 2018 as part of the Skylax House Explosion narrative. Suspended between motion and distance, the track establishes the conceptual perimeter of this final chapter — a space where rhythm no longer functions only as propulsion, but as orientation. Here the listener stands at the outer edge of the dancefloor’s architecture, where structure persists even as its original social conditions begin to disappear. The sequence continues with Hardrock Striker’s “Motorik Life (DJ Sprinkles Dub)”, originally released in 2011. Rather than operating as a conventional remix, the Dub reinforces the motorik continuum of the original composition, transforming repetition into endurance. DJ Sprinkles preserves the infrastructural skeleton of the dancefloor — its capacity to sustain bodies through duration alone, without narrative resolution or emotional release. The record culminates with “Motorik Life (DJ Sprinkles Mountain Of Despair Remix)”, one of the most politically explicit works ever associated with Skylax Records. Through the relentless repetition of the phrase “mountain of despair,” Terre Thaemlitz dismantles the traditional function of dance music, transforming remix culture into structural critique. Referencing Martin Luther King Jr.’s famous metaphor, the remix removes the promise of redemption and leaves only the architecture of struggle. The dancefloor is no longer presented as escape, but as a temporary condition of survival. Together these recordings reveal house music’s true function: not to resolve despair, but to create temporary conditions in which bodies can continue to exist despite it.

AFTER THE DANCEFLOOR

you cannot preserve a dancefloor
by archiving its sound
because the dancefloor was never sound

it was bodies
finding temporary protection
inside systems designed to erase them

house music was never a genre
it was a survival strategy

when the lights disappeared
the structures remained
and so did we

Ezra Collective’s Chapter 7, now celebrating its tenth anniversary, captured the restless energy of a young band finding its voice - spiritually curious, rhythmically fearless, committed to community as compass. Built on grooves made for sweat-slicked basements and late-night communion, its seven movements reveal a blueprint forming: jazz as a living expression of where you come from and who you stand with.

The forthcoming Chapter 7 (10th Anniversary Edition) reissue revisits that formative statement from a band that would soon become trailblazers as both the first British jazz act to win the Mercury Prize, and then a BRIT Award. Remastered for vinyl and expanded with new incarnations - live cuts from NPR's Tiny Desk and the band’s landmark Royal Albert Hall performance - the reissue presents Chapter 7 not simply as an early document, but a living manifesto: rhythm as ritual, youth culture as sanctuary, and jazz as an open invitation.

Pressed on black vinyl, housed in a single sleeve jacket with printed inner sleeve, featuring credits and a message from the band.






k B3. Chapter 7 Live at NPR's Tiny Desk
m B4. I Have a God (Feat. Zara McFarlane) Live at the Royal Albert Hall






[k] B3. Chapter 7 [Live at NPR's Tiny Desk]
[m] B4. I Have a God (Feat. Zara McFarlane) [Live at the Royal Albert Hall]






[k] B3. Chapter 7 [Live at NPR's Tiny Desk]
[m] B4. I Have a God (Feat. Zara McFarlane) [Live at the Royal Albert Hall]






[f] B3 | Chapter 7 [Live at NPR's Tiny Desk]
[g] B4 | I Have a God (Feat. Zara McFarlane) [Live at the Royal Albert Hall]






[f] B3 | Chapter 7 [Live at NPR's Tiny Desk]
[g] B4 | I Have a God (Feat. Zara McFarlane) [Live at the Royal Albert Hall]

Next in the We’re Going Deep label series, he welcomes 4 tracks of completely fresh material from a relatively unknown Italian producer, Davide Tonini. Hailing from the much fabled Adriatic coastal party town of Rimini in Italy, Davide has been shaping and sculpting Electronic sounds for well over 3 decades now. Having first started releasing music under his ‘Wet Basement’ alias back in 2015, his sonic palette traverses IDM, Techno, Deep House, Acid and Ambient soundscapes.

Having spent decades honing his practice, he has both self-released his music and worked with the long standing Odrex Music in Berlin. And there’s something deeply irresistible about his output that screams class and quiet dedication. In his own words, in around 2005 he got into the world of Eurorack and a few years later, Serge Modular. Since then, he’s been totally hooked...

In more recent times, Davide has recorded and released 2 digital LPs worth of material for ‘Detroit Underground’ under his own name, so it seems fitting that We’re Going Deep are now hosting a debut 12” cut – offering up 4 cuts of trademark sumptuousness. Bringing together the best of influences that touch on the likes of Aril Brikha, David Alvarado, Deepchord, Convextion and Basic Channel, he weaves together their respective magic to a new whole point of inflection that is both of this world and the other. All tinged with a warmth and smile that could only originate in Mediterranean climes.

The aptly named ‘A-1’ kick starts the EP in fine fashion as shimmering chords cut through rays of floatingly filtered synthesis, all beautifully dubbed out to a steady rolling kick and neatly shuffled high-hats, with precision bass notes interjecting to add an additional layer of funk. With bliss set to maximum, this is nothing short of genius. Followed by ‘Bilateral’, Davide offers a touch more space and lets the bottom end lead, whilst neatly filtered chords flicker to and fro - seeping their way into your consciousness as the tight drum work brings you to groove mode.

On the reverse, ‘Drive’ burrows further into emotive depths as Davide bathes you in layers of dub and twinkling melodics, all passed through a hazy film of goodness. Rounding off the EP with the deft touch of Distanze Logaritmiche – a soft roller that steeps you in undulating chords and cavernous effects. This is high class music that deserves patience and your attention to reap the ultimate rewards from a true master of his craft.

Hungarian power comes through the roof as it can be said and it comes from none other than by Norbert Thunder. The artist that always has known and will know the sence of style whether it’s clothing or the sound of the drums, saw cutting riffs of synths or readiness to penetrate the soul with genuine love and respect for the electronic groove.

On this disc the remix duties are taken by none other than Millimetric, the legendary artist that has been putting people through frequencies for many years and that has been generating feelings for a while. Having Norbert over and sharing many words together have made the process genuine and it is a truly wonderful time that the disc has been shaped in a visually and muscially rich matter that it did.

Love International return with the second release in their Floor Series, welcoming Iñigo Vontier with a remix from Eden Burns, as it rolls on - continuing its run of records shaped by the dancefloor and late-night pulse in Tisno.

For 002, Mexican producer Iñigo Vontier steps in. Known for moving between styles with ease, he lands here with something that locks to the floor - rolling, hypnotic, and just off-centre enough to keep things interesting.

On the flip, Eden Burns comes through with a killer remix that pushes the original into more immediate, dancefloor destruction, completing the four-track EP.

There is a particular kind of strangeness that arrives on long drives across Europe. Flat light, service stations and fields stretching endlessly past the window. It might look mundane at first glance, but becomes faintly surreal when the tiredness of touring blurs the edges of everything.

That feeling became the quiet engine behind Driving Through Belgium, the debut solo album from Anton Pearson, best known as one of the guitarists in respected post-punk outfit Squid. The title grew from a track that felt like the record’s centrepiece, which itself came from the recurring image of extensive periods on the road across the continent. It is a record shaped in the margins of touring, and finessed in the in-between hours.

Across six pieces, Pearson leans into atmosphere, texture and space. It is ambient in spirit, adjacent to contemporary classical in feeling, but composed less with notes in mind than with sound itself. The compositions rarely began with harmony or melody, with Pearson instead responding to his environment and sounds in real time, placing trust in his instinct.

Although initial inspiration came from the road, the album was recorded in a studio he shares in Brighton, and marks his first fully solo project made in that setting. It gave him access to not only new tools and techniques, but a hitherto un-experienced freedom. Much of the process began experimentally, feeding instruments into unfamiliar chains, pitching loops into unexpected registers and playing with previously unused synthesizers simply to see what they might reveal. Many of the sounds were created out of pure curiosity, wanting to understand a piece of equipment or technology, and then following wherever it led.

The album was built with this experimentation at its core, as Pearson would layer then extract, processing stacks of sound until things blur and confuse. Guitars dissolve into drones, a Pianet Clavinet dances against muddier textures whilst a Korg PS-1000 occasionally cuts through with its glittering top end. On ‘Driving Past the Muscular Cows in Belgium’, a flat, still drone is pushed through valve amps until it growls and tightens with tension, before receding again. Even the trumpet, which Pearson freely admits he is not technically proficient at, is embraced in its naivety, its squeaks left intact rather than corrected. The twin ‘Tintinnabulation’ pieces frame the record with looping, pitched bell like tones, accidental discoveries that became structural anchors. Meanwhile, ‘Teeth to Cut the Grass’ deliberately introduces abrasion, some of the harshest textures on the record, a refusal to become passive background music.


That embrace of imperfection is central. In contrast to the hyper-analytical precision of his band, Pearson was keen to honour first takes. If something felt good, it would stay. The end result is an album that favours looseness, instinct and the energy of creation itself. If Squid thrives on propulsion and tension, Anton Pearson finds his energy in suspension on Driving Through Belgium. It is curious rather than declarative, creating a space where experimentation feels playful again.

"All the tracks on this release come from a live concert at Sharmanka, a beautiful and unique museum of kinetic sculptures in Glasgow, and throughout the record, the sounds of the sculptures moving and emitting noises are incorporated into the music performed. The four pieces presented are entirely improvised. There was no discussion beforehand of what instruments or what approach would be taken, and each piece evolved as a musical negotiation as the performers individually made choices about what instruments to play and how to support and meet each other within the unfolding musical narrative. While Macdonald and Ferlaino both share a lifetime of work with their chosen primary instrument, the saxophone, they also share a passion for exploring other instruments and objects for their sonic and socio-creative potential. This record foregrounds both these aspects of their work: they use saxophones, but also incorporate bells, toys, bagpipes, accordions, percussion instruments and voice.
"Raymond MacDonald is a saxophonist and composer with an extensive career in music, cross-disciplinary arts and academia. He has played on and released over 100 albums, toured and broadcast worldwide and has composed music for film, television, theatre, radio and art installations. He is a founding member of the Glasgow Improvisers Orchestra, and his work is informed by a view of improvisation as a social, collaborative, and uniquely creative process that provides opportunities to develop new ways of engaging musically.
"Christian Ferlaino is an Italian saxophonist, bagpipe player, improviser, composer and ethnomusicologist. He composes for ensembles of improvisers, both from the jazz and improvised music scene, as well as for contemporary music ensembles. His work explores the relationships between composition and improvisation, and the expressive potential of improvised music. His musical research also focuses on creatively engaging with the sonic and musical realm of Calabria, with special attention to its performing techniques and approach to sound and music generation."

"Carol Maia & Jeremy Gustin’s haunting collaborative album is the result of a long distance partnership during which tracks were traded back and forth across thousands of miles, Jeremy working from his home studio in Brooklyn and Carol from hers in Rio De Janeiro. Later they enlisted support from a number of key players in the Rio scene, Frederico Heliodoro, Paulo Emmery, Ricardo Dias Gomes, and from Brooklyn’s musical community, Will Graefe and Ryan Dugre, to shape this understated masterpiece of sophisticated global pop and quiet experimentalism.
"It's hard to describe what Carol, Jeremy and their guests have achieved on 'it's nice to see a lake in your eyes', a kind of pop music that stands outside of time and is neither Brazilian, American or of any other recognisable place. Maybe it's risen out of the lake they imagined into being? Maybe it's formed like rain in the thousands of miles of air between Rio and New York? Whatever happened was certainly alchemical as you will hear.
"Carol told me her writing on this record was greatly influenced by her reading of Marcelo Ariel's poetry book A água veio do sol, disse o breu so maybe the best thing to do to describe this music is to let you read one of his poems:

A luz do ser é como a água
também veio do Sol
onde todos os planetas querem entrar

Dentro do Sol
O ser é imóvel
como a gratuidade de um êxtase
parecido com a respiração

Fora do Sol
o ser é móvel
Tempo eternidade
e tempo cronológico

The light of being is like water
it also came from the Sun
where all the planets want to enter

Within the Sun
Being is immobile
like the gratuitousness of an ecstasy
similar to breathing

Outside the Sun
Being is mobile
Time eternal
and chronological time

"Jeremy Gustin is an unorthodox drummer, percussionist and songwriter who has toured and recorded with Joan as Policewoman, Iggy Pop, David Byrne, Marc Ribot, Delicate Steve, and Norah Jones. If you follow Hive Mind then you probably know him best from his amazing work on Ricardo Dias Gomes' Muito Sol. Jeremy is also in the experimental pop bands Star Rover and Blurry the Explorer.
"Carol Maia is one of Rio's new generation of singers and musicians currently lighting up the city's vibrant music scene. She also featured heavily on Wolfgang Pérez's album Só Ouço, which was released on Hive Mind in 2025."

Zweite EP zu Jeff Mills' neuer Videoserie "The Director's Cut Documentary" mit Interviews von Szeneleuten wie Künstlern, Club- und Plattenladenbetreibern zu Jeff Mills, seinen DJ-Skills und der Geschichte seines Axis-Labels. Die parallele 180g Vinyl-Serie enthält teils unveröffentlichte Raritäten aus den Axis-Archiven, oftmals remastered, und wird zum Jahresende in einer CD-Compilation gipfeln.

Very limited numbers, orders will need to be confirmed.

For his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.

The Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.

Six singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”

The song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.

Wasylyk writes in a room, in his native Dundee, full of “half broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.

Among the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.

The heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write some- thing that was obviously hopeful,” Wasylyk says.

‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”

The album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.”

'This compilation Pas Un Pas Sans… The Boleros of O.K. Jazz 1957-77 is a selection of songs from what is one of the most unique and passionate music genres on earth, the Congolese bolero.
'Of all Congolese bands venturing into the bolero, the O.K. Jazz orchestra is by far the king of this musical style which originated in the late 19th century in Cuba. In its nearly forty years of existence, the illustrious band released dozens of boleros, with beautiful compositions, mainly by Franco and Vicky, and occasionally from Kwamy, Edo, Simaro and Mujos among others. The slow form of the bolero allowed Franco, who said in various interviews that he loved all forms of ‘slow music’, to express his most profound soul stirrings and create a style of his own. With the suave voice of Vicky and the breathtaking and dramatic guitar touch of Franco, O.K. Jazz was able to capture the true essence of the bolero.
'The favorite theme in the bolero songs of O.K. Jazz was, without doubt, the joy and pain of love, but it also touches on friendship, city life in Kinshasa, laments, politics and even advertising for a shoe brand like the remarkable song ‘Pas Un Pas Sans Bata’ featured on this compilation.
'All of the songs, except one, were restored and remastered from the original 45 rpm or 78 rpm release. The selection chronologically presented here consists – as always – for a good part of songs never reproduced after their original release.'

‘Warm Waves’ first appeared in 2020, ten years after Turn On The Sunlight’s debut self-titled album was first released in Japan. During that decade, Turn On The Sunlight’s Jesse Peterson and Mia Doi Todd welcomed their first child and co-founded a music venue in Los Angeles. When performance spaces were required to close at the start of the pandemic, Jesse’s focus shifted back towards home recording. Since ‘Warm Waves,’ five more Turn On The Sunlight albums have followed (including ‘Drives To The Beach,’ also on Tokonoma Records), all of which can be seen as an expansion of the musical direction set forth on this album.

The group heard on ‘Warm Waves’ consists of musicians who Mia and Jesse were regularly playing with at the time - Sam Gendel, Mitchell Brown, Andres Renteria & Gabe Noel - joined by Laraaji, Arji & Luis Pérez Ixoneztli, making their first recordings together.

The group’s blended signal was routed through Mitchell’s tape loops and modular synthesizer, which contributed to the unique communal sound of these recordings. Further extending this approach, Carlos Niño then reprocessed and reimagined ‘Passing Rain’ with Jamael Dean for his Elemental Beat Mix.

Originally released one week into the official lockdown period, some listeners found the warm, collective sound well-suited for the time of introspection and shifting priorities that followed. Now, in 2026, ‘Warm Waves’ returns on vinyl to once again encourage peaceful contemplation and open-hearted togetherness, in echo of the spirit of its creation.

Credits
Sam Gendel: Saxophone & Electronics on A1, A2, A3, B1, B2, B3
Laraaji: Voice & Zither on A3
Luis Pérez Ixoneztli: Bird Sounds on A1, Aerophones & Water Drums on B2
Mia Doi Todd: Voice on A1, A2, B2, B3; Piano on A3
Jesse Peterson: Guitar, Bass, Organ & Bird Sounds on A1; Organ on A2; Guitar & Bass on A3; Wooden Whistles, Guitar, Ukulele & Piano on B1; Ice Breaking on B3
Andres Renteria: Percussion on A1, A2, B1, B2, B3; Marimba & Percussion on A3
Mitchell Brown: Synthesizers & Magnetic Tape on A1, A2, A3, B2, B4
Gabe Noel: Bass on A2, A3, B1
Arji: Bells & Shells on A3
Carlos Niño: Production / Remix on B4
Jamael Dean: Additional Keyboards on B4

Produced, mixed & recorded by Jesse Peterson
Except B4, produced by Carlos Niño

‘Warm Waves’ first appeared in 2020, ten years after Turn On The Sunlight’s debut self-titled album was first released in Japan. During that decade, Turn On The Sunlight’s Jesse Peterson and Mia Doi Todd welcomed their first child and co-founded a music venue in Los Angeles. When performance spaces were required to close at the start of the pandemic, Jesse’s focus shifted back towards home recording. Since ‘Warm Waves,’ five more Turn On The Sunlight albums have followed (including ‘Drives To The Beach,’ also on Tokonoma Records), all of which can be seen as an expansion of the musical direction set forth on this album.

The group heard on ‘Warm Waves’ consists of musicians who Mia and Jesse were regularly playing with at the time - Sam Gendel, Mitchell Brown, Andres Renteria & Gabe Noel - joined by Laraaji, Arji & Luis Pérez Ixoneztli, making their first recordings together.

The group’s blended signal was routed through Mitchell’s tape loops and modular synthesizer, which contributed to the unique communal sound of these recordings. Further extending this approach, Carlos Niño then reprocessed and reimagined ‘Passing Rain’ with Jamael Dean for his Elemental Beat Mix.

Originally released one week into the official lockdown period, some listeners found the warm, collective sound well-suited for the time of introspection and shifting priorities that followed. Now, in 2026, ‘Warm Waves’ returns on vinyl to once again encourage peaceful contemplation and open-hearted togetherness, in echo of the spirit of its creation.

Credits
Sam Gendel: Saxophone & Electronics on A1, A2, A3, B1, B2, B3
Laraaji: Voice & Zither on A3
Luis Pérez Ixoneztli: Bird Sounds on A1, Aerophones & Water Drums on B2
Mia Doi Todd: Voice on A1, A2, B2, B3; Piano on A3
Jesse Peterson: Guitar, Bass, Organ & Bird Sounds on A1; Organ on A2; Guitar & Bass on A3; Wooden Whistles, Guitar, Ukulele & Piano on B1; Ice Breaking on B3
Andres Renteria: Percussion on A1, A2, B1, B2, B3; Marimba & Percussion on A3
Mitchell Brown: Synthesizers & Magnetic Tape on A1, A2, A3, B2, B4
Gabe Noel: Bass on A2, A3, B1
Arji: Bells & Shells on A3
Carlos Niño: Production / Remix on B4
Jamael Dean: Additional Keyboards on B4

Produced, mixed & recorded by Jesse Peterson
Except B4, produced by Carlos Niño

Jeff Mills does the dance a favour with remastered and unreleased cuts of some all-time classic.

Mills presents a previously unreleased version of the savage “Suspense” from his Drama EP AX006, 1993, alongside the haunting synth pads and fizzing 909 hustle of “Gamma Player” from Millsart’s Humana AX012, 1995 on the A-side.

The flipside features a fresh cut of the bleeping, intrepid deep-space sound design of “Transformation B (Rotwang’s Revenge)” from his Metropolis soundtrack, and the hypnotic energy of “Hydra and Synergy,” as used in his Exhibitionist 2 (2015) mix.

Collaboration is key to the practices of both musicians. Both Rimbaud and De Waard exhibit long histories of collaborating with others from very different fields. They both understand that the ability to exchange and share ideas is crucial, and how these collaborations allow both parties to work as both negatives and positives of each other, recognising spaces within the work fields and ideas. It teaches the respect of space and the relevance of context and extension of one to the other.

Killer new prototype now in the place. 1 of the best for some time... And playable 33 as well... TIP

Repress of the TLB tunes on FSL !

The trilogy is finally complete as Deep Dish make their monumental return to Global Underground, following up the seminal Moscow and Toronto mixes with #GU49 Dublin. The legendary duo has delivered a masterclass in mixing. This isn’t just an album, it’s a legacy.

Grant Dell’s name is woven deep into the fabric of UK underground house. As a DJ, producer, and co-founder of Swag Records, he’s been part of a movement that prioritized groove, individuality, and dancefloor connection over trends and hype. From the raw energy of early London parties to a catalogue that still resonates with diggers today, his work has always been guided by instinct and a deep respect for the roots of the music.

Still DJing worldwide and has been a wiggle regular Gems have unearthed another piece of classic underground tech house music with one of Grant Dell’s most sought-after productions. Originally released on Visitor Recordings out of Belgium.

Remastered for 2026 limited stock act fast!

Between Bodies als Geheimtipp der europäischen Punk/Indie-Szene zu bezeichnen, ist mittlerweile ein großes Understatement. Nach ihrem Debütalbum, "Electric Sleep" von 2022, war die Band in aller Munde derer, die ein Herz für melodischen, treibenden, emotionalen Punkrock mit DIY Spirit haben. Spätestens über das Jahr 2025, als die Band aus Köln, Toronto und Paderborn, etablierte Acts wie Touché Amore, The Get Up Kids, The Hotelier oder Captain Planet in ausverkauften Clubs supportet hat, auf zahlreichen Szene-Festivals zu sehen war und seine Hörer*innenschaft noch einmal deutlich erweitern konnte, sind Between Bodies zu einer der spannendsten up-and-coming Punk-Bands hierzulande geworden. Die Songs und Texte der Ende 2019 gegründeten Band haben - wird oft behauptet, hier stimmt es einmal - internationales Format und erinnern an Lieblinge wie Joyce Manor, The Menzingers oder Tigers Jaw. Ihr Sound lässt ebenso an 90er Jahre Emo-Punk Klassiker denken, zeigt sich beeinflusst von 00er Jahre Post-Punk/Indie und verfügt dabei über reichlich Charakter und ein Ideenreichtum, der Between Bodies schlicht zu einer außergewöhnlichen Band macht.

Guitarist/composer Cole Berliner"s writing, arranging and playing highlights an album of rich-grained, acoustic, west coast parlor music and modern electro-acoustic instrumentals in the challenger tradition of Bert Jansch"s Avocet, Marc Ribot"s Saints and Jim O"Rourke"s Bad Timing. Initially conceived as solo acoustic guitar tunes, Cole"s songs demanded the dynamics of an acoustic ensemble - a departure from his work with Kamikaze Palm Tree and Sharpie Smile. His arrangements form intricate passages for acoustic, electric and lap steel guitars, acoustic/electric bass, piano, drums, percussion, violin, viola, horns, woodwinds and synthesizers; Cole himself is on guitar and lap steel (plus synths and percussion on a few songs), mixing and co-producing alongside Cesar Maria.

For the first time since their epic 2019 album, Hiding Places, billy woods teams with Kenny Segal (producer) to bring us, Maps, billy woods' most accessible album to date. A-list features include: Danny Brown, Sam Herring (Future Islands), Aesop Rock, Elucid, Benjamin Booker, and more. Fat Possum is partnering with Backwoodz Studioz to provide global marketing and distribution resources. In 2022, billy woods released 2 solo albums to wide acclaim: "aethiopes" and "church". Both albums made Pitchfork's Best Albums of 2022 list, and FADER named "aethiopes" their #1 AOTY.

This double-album pushes the boundaries of E-Jazz, blending heavy electronic weight with sophisticated improvisation. Featuring a standout collaboration with Llibert Fortuny, the production treats the computer as a "fourth band member," resulting in a dense, groove-heavy record defined by intense crescendos. A top-tier pick for shops specializing in Nu-Jazz, Broken Beat, and
Electronic Fusion.

The final album recorded by the late double-Grammy-winning Chuck Mangione, Everything for Love, was the flugelhorn maestro's second outing for Chesky Records, a New York label renowned for its audiophile-quality recordings and for cutting its artists live in what producer David Chesky described as "reverberant spaces" using a single microphone

Sept returns to OPUS with a versatile five-track EP built for both peak-time impact and deeper moments. Featuring four dynamic techno tracks, the release combines driving energy with detailed sound design, making it equally effective on large stages and in intimate club spaces. The EP closes with an ambient track designed as a perfect DJ set opener, adding depth and flexibility for selectors.

Iqnovara is a band to watch: their debut album, Onderstroom (2024), was immediately picked up and praised by Belgian public radio broadcast Klara. On May 29th, their follow-up album, O Innocent Heart, will be released by W.E.R.F. records. This album explores the boundaries between jazz and North Indian classical music. For three years, they refined this music in close collaboration with Pakistani sarod maestro Asad Qizilbash. Bandleader, guitarist, and composer Haroun Iqbal deepened his understanding of the North Indian tradition during this period, including a study trip to New Delhi to learn from Shubhendra Rao, aprotégé of Ravi Shankar. O Innocent Heart connects both musical worlds in each piece in its own way, always seeking how each musician can shine.

Born Hovhannes Sargsyan, D.zúk (”dzook” = fish) is a Yerevan-based producer influenced by the delicate qualities of nature, juxtaposed against the concrete imprint of human existence. His debut, Ishkhan (“eesh-khan” = prince; also refers to an endemic trout found in Lake Sevan) is a pensive journey through ethereal, underwater landscapes. He calls his music “fishwave”; a swinging mélange of dub, house, bass and ambient sounds. “Ishkhan to me is at its strongest when it gets deepest into its reveries and abstractions... Wobbly electronic weirdness collides with duduks and whatnot - and maybe reach maximum fish-ness with ”Poghpatits Sarer”. Reserved grooves strolling astride plenty of great musicianship. As a debut, it shows great promise of things to come, too, and I hope creator D.zúk continues to plumb to watery depths soon.” - Peter Kirn for CDM.link

TRACKLIST: 1. Mutq 2. Impulse 3. Punge 4. Reverse 5. Anush 6. Nane 7. Tses 8. Sa 9. Poghpatits Sarer 10. Elq

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Mit Nothing veröffentlicht Bureau B 2026 eine neu gemasterte Jubiläumsausgabe des 2001 erschienenen Albums von A Certain Frank - dem gemeinsamen Projekt von Kurt Dahlke (Pyrolator) und Frank Fenstermacher, zwei Schlüsselfiguren der Düsseldorfer Musikgeschichte. Zum 25-jährigen Jubiläum erscheint das Album erstmals auf Vinyl und markiert ein stilles, aber markantes Kapitel der post-krautigen Elektroniktradition der Stadt: reduziert, atmosphärisch und bemerkenswert zeitlos. Entstanden Mitte der 1990er aus dem Umfeld von Ata Tak, steht A Certain Frank für eine bewusste Abkehr von der damals dominierenden Techno-Ästhetik. Statt Club-Funktionalität setzen Dahlke und Fenstermacher auf Zurücknahme, feine Grooves und subtile Rekonstruktion. Bezüge zu Easy Listening und "Exotica" werden nicht nostalgisch zitiert, sondern behutsam in eine zeitgenössische elektronische Sprache überführt. Nothing bildet den Abschluss einer inoffiziellen Trilogie und basiert weitgehend auf live eingespielten Basslinien, Drums und Synthesizern. Stimmen werden als klangliche Texturen eingesetzt, nicht als klassische Leads. Zwischen jazziger Electronica, filmischer Atmosphäre, digitalem Dub und dezenten Lounge-Momenten entfaltet das Album eine unaufdringliche Modernität, die bis heute nachwirkt. Kein Relikt - sondern ein Werk von bleibender Klarheit.

Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash-based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades.

'Black Thrash Attack' was Aura Noir's debut full length album, originally recorded & released in 1996, & was a continuation of the intense thrash riffing displayed on 'Dreams Like Deserts'. This edition of 'Black Thrash Attack' includes a cover of the venom classic 'Heavens on Fire', from the cult 'Black Metal' album. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dødheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dødheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, RUiM.

This edition of 'Black Thrash Attack' marks the 30th anniversary of the release, & is presented on limited marble vinyl, following the layout of the original.

Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash-based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades.

'Black Thrash Attack' was Aura Noir's debut full length album, originally recorded & released in 1996, & was a continuation of the intense thrash riffing displayed on 'Dreams Like Deserts'. This edition of 'Black Thrash Attack' includes a cover of the venom classic 'Heavens on Fire', from the cult 'Black Metal' album. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dødheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dødheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, RUiM.

This edition of 'Black Thrash Attack' marks the 30th anniversary of the release, & is presented on limited marble vinyl, following the layout of the original.

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

2023 Backstock

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before.

Full colour sleeve with rare use of the Italian only movie artwork.

A few years ago I issued the soundtrack to Virgin Witch, the score to an underground 1971
kinky British London / posh stately home horror that seemed more like an excuse to show as
many racy cars and devilish nude scenes as possible. This fleapit film was written by Hazel
Adair - the writer of legendary long-running TV series Crossroads, and her business partner at
the time Ken Walton (yes, the wrestling commentator). Virgin Witch was cheap and successful
enough to allow the whole team another go at the sexploitation game through their newly
formed production company Pyramid Films. Sex Clinic was the quick follow up; I say Sex Clinic,
the initial cinematic title was Clinic Xclusive, which was also called With These Hands, which
was also called La Masseuse Perverse. This film also came out in 1971 and they used the
musical services of Ted Dicks once again. Dicks had originally met Adair in 1960 through a cast
member performing in his first musical, Look Who’s Here.

If you are not aware of the great Ted Dicks, his quick bio reads as follows: born London 1928,
was educated through both grammar and art school and after National Service flirted with both
art and music. He worked with a series of very talented song writers - including Barry Cryer -
finally sparking properly with writer Myles Rudge. Together “Dicks and Rudge” had a hit with
their musical And Another Thing which starred Lionel Blair and Bernard Cribbins. Their talents
were spotted by producer George Martin and they followed this show success up with a series
of truly classic novelty pop chart hits, again with Cribbins - “Hole In The Ground” and “Right Said
Fred”. If you are not aware of the classic A Combination Of Cribbins LP they wrote, go and find
it. It includes “Gossip Calypso”, a triumph of novelty song writing that somehow manages to
squeeze in the lyric “Oxy-aceteline welder”, and is possibly the only song ever to do so. They
wrote further hits (winning an Ivor Novello for “A Windmill In Old Amsterdam”) and were in
constant demand throughout the 1960s and 1970s, working with artists such as Petula Clark,
Matt Munro, Bruce Forsyth, Topol and Kenneth Williams.

By the late 1960s Ted had also penned a handful of instrumental library cues including the
classic “Busy Boy” for the Standard Library company that got picked up as the theme for the
brilliant TV kids fantasy show Catweazle in 1970. It’s a light, kooky, hummable tune that lodged
its way deep in the mind of any child under 12 over the following decade.

When I first got the reels for Sex Clinic I’m not sure what I was sonically expecting - much of
Dicks’ music blends musical hall with jazz and some brilliant novelty - and maybe I was also
imagining a different kind of film to the one that was actually made. Turns out Sex Clinic is more
like a sleazy drama than an erotic adventure - I’ve read reviews that call it “nothing more than a
naked Crossroads”. Even knowing this I had no idea what the music was going to sound like. So
I was thrilled when it was almost the musical opposite of what I imagined. We have here a great,
easy jazz score. Not a proggy, wild or free jazz score, this is lightish, vibes-led, bluesy and really
charming, which gets slightly more lively when the naked pool party sequence kicks off, and
drifts effortlessly into more seductive midnight moods as and when required. And having now
seen the film, musically it’s unusually at odds with the on screen nudity, blackmail and revenge.

But like most of Ted’s work, the music sticks in your mind. Unlike the film. Which I suggest you
try and avoid unless you like watching plump randy middle aged men with terrible hair pursue
women half their age.

TRACKLISTING: There were no notes or titles to any of the cues on the reels. So I have just simply labeled the sides as per the reels that came in:

Multi-instrumentalist Sarah Lipstate brings her innovative music to life under the name Noveller. Forming unexpected sonic routes, her songs are vivid and cinematic. Following several years spent collaborating with Iggy Pop, and touring the world as his guitarist, Lipstate returns with a new album of her own. I Am The Weather further expands her inventive explorations, creating what Pop once described to Jim Jarmusch as “symphonies for people that don’t have a lot of time.”

Sarah’s work as a composer, notably for the HBO Docuseries Breath Of Fire, as well as the Anthony Bourdain documentary Roadrunner, has greatly influenced her new constructions, incorporating piano, percussion and a new studio filled with excitement into her signature guitar sculpting. It is the baby grand at the center of her studio that welcomes you to the record on “Sunday in Copenhagen” before ceding to a celestial six string swell. The percussive rhythms of “Divining Dance” awaken a new morning in "The Way of Our Flood” and walk towards the bowed grace of “Otherside of Mountainside." Surging into the sky, “Portmerion” allows “Beyond the Fells” to glide back down to Earth, revealing the album’s biggest surprise - a vocal track!

It seems fitting given their past, that the first vocals on a Noveller record would be delivered by the legendary Iggy Pop. Written specifically for The Godfather of Punk, a noir-ish tale of a man over-matched by a femme fatale, “The Girl Who Was Death” builds with tension and release. Following their collaboration on the title track to Iggy’s album Free, (also used in a global campaign for PETA) and their interpretation of Dylan Thomas’ “Do Not Go Gently Into The Night”, Iggy was eagerly awaiting the opportunity to add vocals to another Lipstate composition. A scene set as if on opposite ends of a corner booth at the Double R Diner in Twin Peaks, he delivers each line with the weight of a thousand lives lived. The result is a song so vivid that you can see it projected ten feet tall on the walls all around you.

I Am The Weather is the first new release for the Experimentia label, which will soon be the home for the entire Noveller catalogue.