quête:the format

The late, great J Dilla is one of the greatest hip-hop producers of all time, in part because his ear for music

was so diverse and expansive. As Dilla's mother Ma Dukes explains, "He didn't come with a limited capacity, and real producers produce, produce, and produce. There are no formats for genius workers…just non-stop creations."

Now, a fresh batch of those creations is available to the world, in the form of the official J Dilla release Dillatronic. This 2LP edition from Ma Dukes and Vintage Vibez Music Group includes the full Dillatronic collection – over 40 rare instrumentals that showcase Dilla's undeniable electronic influences.

Die größten Hits der 90er – jetzt auf hochwertigem Vinyl.

Mit der Compilation „BoomBox 90s“ holst du dir das unverwechselbare Lebensgefühl der 90er Jahre direkt auf deinen Plattenteller. Diese exklusive Vinyl-Sammlung vereint legendäre Chart-Hits und unvergessene Klassiker – perfekt für nostalgische Musikabende und echte Sammler.

Freue dich auf zeitlose Songs wie:

„What’s Up?“ – 4 Non Blondes
„Zombie“ – The Cranberries
„Old Pop in an Oak“ – Rednex

Von Alternative Rock über Grunge bis Eurodance – „BoomBox 90s“ bringt die musikalische Vielfalt eines ganzen Jahrzehnts authentisch zurück. Der warme, satte Klang der VinylPressung sorgt für ein intensives Hörerlebnis, das digitale Formate kaum erreichen

Relentless 1999 death metal fury, officially re-pressed as a 12" picture disc. A critical, raw, and dissonant cornerstone of the New York death metal scene, now in a limited format for collectors.

Nothing marks a return to wax like gathering members of our worldwide family to showcase vastly forward thinking production.

Featuring Markus Suckut, Iori, Skudge, and Na Nich & Vera Logdanidi, this record brings together four distinct approaches across the format, each contributing to a shared physical and sonic language, looking to shine a light on the way these conjoined vibrations permeate through the listener, carrying an impulse throughout their entire system.

On this VA, our ears are subject to torque, soundwaves expose a pole model, and every single track, contrasting in dynamic and intensity, presents a relationship bound by strong interactions.

In the vibrant, post-millennial landscape of independent hip-hop, few collective names commanded as much respect as the Living Legends. A monumental alliance of some of the West Coast's most respected solo artists—including Murs, The Grouch, Eligh, Aesop, Bicasso, Luckyiam, Sunspot Jonz, and Arata—the crew's 2008 album, The Gathering, served as a powerful declaration of their unity and enduring relevance.

The Gathering was a snapshot of a legendary crew working at the peak of their collaborative power. The project masterfully weaves together the diverse styles of its eight members, moving effortlessly from the conscious storytelling of Murs to the soulful, introspective flow of The Grouch and Eligh, and the abstract lyrical dexterity of Aesop. The production, handled largely within the collective, provides a lush, sample-heavy, and distinctly West Coast soundscape that perfectly complements the lyrical fireworks. Tracks like the anthemic title track "The Gathering" and the legendary posse cut "After Hours" showcase the organic chemistry that made the Living Legends a seminal force in underground music.

For the first time ever, this pivotal album is being officially pressed on vinyl. This highly anticipated Record Store Day 2026 release finally delivers The Gathering to the format its rich, soulful production has always deserved. This limited edition pressing is presented on striking Coke Bottle Clear Vinyl, a perfect visual complement to the album's crisp, refreshing sound.

A crucial artifact of independent hip-hop history, The Gathering on vinyl is an essential addition for fans who have supported the Living Legends for decades and a must-have for vinyl collectors looking to own a tangible piece of the era's best crew collaborations. Don't miss the chance to own this definitive, first-ever vinyl pressing of a true underground classic.

KITCHEN. LABEL is proud to present AGATE, the latest album by Japanese artist MEITEI, marking a deepening of the world he first shaped through his Kofū trilogy released between 2020 - 2023.

Named after the mineral agate, a stone formed through slow accumulation, pressure, and time, the album reflects MEITEI’s patient approach to sound. AGATE brings together extended and newly rearranged works from across the Kofū cycle alongside new compositions and passages, refining material developed through years of performance and sustained practice.

The album presents seven tracks:

HAŌ (Previously unreleased track)
SHIN-OIRAN (Remodeled from Oiran I, Kofū 2020)
SHIN-SADAYAKKO (Remodeled from Sadayakko, Kofū 2020)
SHIN-WAROSOKU (Remodeled from Wa-rōsoku, Kofū III 2023)
KYŪGEKI (Remodeled from Shinobi and Akira Kurosawa, Kofū II 2021)
SHIN-OIRAN II (Remodeled from Oiran II, Kofū 2020)
SHIN-EDOGAWARANPO (Remodeled from Edogawa Ranpo, Kofū III 2023)
Across these works, MEITEI expands the musical vocabulary first introduced in Kofū, a sound he once described as “lost Japanese mood.” While Kofū drew from fragments of folklore, theatre, ghost stories, and forgotten urban memory, it was never an act of historical reconstruction. Rather, it reflected a sensibility of the past observed from the present. With AGATE, this worldview is clarified as Shinpu, a process of discovery in which historical awareness becomes a foundation for contemporary creation rather than a constraint.

During five years of Kofū tours across Japan, Europe, and Asia, MEITEI performed this material in a wide range of spaces, from underground live houses and listening rooms to culturally significant sites. These environments influenced pacing, dynamics, and structure, shaping how the material evolved over time. AGATE is therefore not only a studio album, but the result of material refined through repeated performance.

If the Kofū albums were windows into forgotten eras, AGATE explores what lies beneath, sediment and strata formed through time and pressure. MEITEI’s approach to sound mirrors the nature of agate itself. Grains become texture. Texture becomes narrative. Voices drift through decaying layers of sound, while ancient instruments are used in non-traditional ways, forming distinctive percussive rhythms and melodies that appear and vanish without fixed resolution.

The album’s visual materials were developed under MEITEI’s direction through physical art-making processes. The cover artwork originates from a letterpress print created by Kamisoe, a Karakami atelier in Nishijin, Kyoto, using Kyo-karakami paper. The original artwork, produced through traditional woodblock techniques on handmade washi, was subsequently reproduced on print for the album edition. Kamisoe continues to reinterpret this historical Kyoto craft with a contemporary sensibility.

The title calligraphy was created by Bio Xie, whom MEITEI personally invited to participate in the project. During his performances abroad, MEITEI encountered in Taiwan a lingering atmosphere reminiscent of “Shitsunihon” — a sense of old Japanese memory that quietly endures beyond time. He was deeply drawn to Bio Xie’s distinctive use of Chinese characters, which resonated with this experience, and asked him to contribute to the visual expression of AGATE.

In parallel, MEITEI continues to reinterpret Japanese sensibility through his concept of “Shitsunihon,” presenting it as a contemporary musical language. The refined Kyoto motifs envisioned by Kamisoe and the distinctive calligraphic expression by Bio Xie intersect with MEITEI’s singular artistic direction, weaving together a newly articulated worldview.

The accompanying visual imagery, including the liner photographs, was created by photographer Hiroshi Okamoto, who was also responsible for the visual direction of MEITEI’s previous work, “Sen'nyū.” It draws from MEITEI’s lived experiences of winter seas, solitary cliffs, and breaking waves. These scenes symbolize the inner conflicts of the ten years he spent living in Hiroshima, and his confrontation with solitude and the sounds he creates.

AGATE will be released on 17 April 2025 via KITCHEN. LABEL on 180g vinyl, CD, and digital formats. The album is mastered by Kelly Hibbert, known for his work with Flying Lotus, Madlib, and J Dilla.

With AGATE, MEITEI returns to the material of Kofū with greater focus and discipline, continuing an ongoing process of working forward with inherited material.

2026 Repress in generic white sleeve!

It's been quite a wait for new &ME material here on Keinemusik. But these two new cuts, adding to our catalogue number KM046, sure have been worth waiting for. The EP starts with „The Rapture Pt.II“ and as the title already suggests, it coherently takes up where his last original material had left us, in a stirred state of sweet, harmony-kissed affection. Known as a virtuoso of sound-details, &ME lives up to that reputation, implementing fine synth-elements and temperately rattling percussions, all conjoined by shimmering layers and, of course, an ultimately heart-melting Piano improvisation that at some point will play along to the rhythm of its synthetic brother to a finale that will leave no crowd untouched.

"Solaris" on the flipside adds indeed a futuristic note to the arrangement, opening up with a broken beat and propelling claps. A cut that, as much as its predecessor, is relying on flow and organic shifts rather than forced and peaktime formatted gimmickry, adding a synth arpeggio, white noise, vocal chants and
harmonies in a rather subtle way. Nevertheless, it unfolds a compelling strength to heat the dancefloor gradually through its playtime.

Behind the name Pouf Pouf Pantoufle lie six musicians from Nancy, graduates of the Lillebonne music school: Vincent Petit on double bass, Gabriel Lambert on bass, Guillaume Schwab on keyboards, Tom Colombain on trombone, Gaspard Petitnicolas on flute, and Solal Piquand on drums.

In 2022, they founded the APC (Appellation Pantouflarde Contrôlée) association and started organizing concerts at the legendary MJC Lillebonne, often alongside BMM and RPT. Thanks to their eclectic and avant-garde line-ups, these events have become unmissable for fans of hybrid music, electronic curiosities, and off-format performances.

Through a form of free, improvised, and chaotic jazz, the band Pouf Pouf Pantoufle echoes the local scene that they federate. The sextet now presents its first eponymous studio album, a genuine laboratory of improvisation and experimentation with different materials and sound textures, mixing acoustic and electronic elements in an intense and exhilarating jumble.

Once I Was Young and The Airplane Album find the producer taking yet another sonic right turn. "These records were made in the same year with a very similar creative process. I moved almost completely away from sampling, experimented more than ever with ambient and techno elements and used the album format as a way to tell a story about moments in my life." Once I Was Young is a storytelling work that journeys through analogue synth-pop, modulated techno and raw, dusty drums with otherworldly melodies. Moments of beauty come through escapist, naturalistic ambient tracks and fusions of Kraftwerkian sequencing with more classical piano, while stark, clubready grooves keep things moving. Airplane contrasts similar shades of light and dark, synthetic and organic, rough and smooth. Glitchy, imperfect analogue sounds, knackered drum machine grooves and eerie synth phrasing evoke a post-human world with icy atmospheres. Elsewhere, warmth comes from bittersweet melodies and loose, funky drums that ooze retro-future charm.
Once I Was Young and The Airplane Album show a diff erent side to Escobar, one that embraces introspection and experimentation while exploring a whole other world of meaningful machine soul

Allison and Katie Crutchfield have formed a new band called Snocaps. Their 13-track debut album, released digitally as a surprise, will be made available on April 17, 2026 in vinyl & CD formats. An indie-rock record that recalls Allison"s band Swearin" and Katie"s early records as Waxahatchee, Snocaps was born out of the twin sisters" desire to work on music together as they had in their teens and twenties. Allison and Katie are backed by friends and close collaborators Brad Cook and MJ Lenderman. The album was produced and almost entirely engineered by Cook, and all four musicians play multiple instruments across the record. After a handful of shows at the end of 2025, Snocaps will be put on ice for the foreseeable future, although, as Katie says, "Allison and I have been, in some way, shape or form, doing this together for over 20 years," so it is practically a given that they will work together on music at some point again in the future.

Allison and Katie Crutchfield have formed a new band called Snocaps. Their 13-track debut album, released digitally as a surprise, will be made available on April 17, 2026 in vinyl & CD formats. An indie-rock record that recalls Allison"s band Swearin" and Katie"s early records as Waxahatchee, Snocaps was born out of the twin sisters" desire to work on music together as they had in their teens and twenties. Allison and Katie are backed by friends and close collaborators Brad Cook and MJ Lenderman. The album was produced and almost entirely engineered by Cook, and all four musicians play multiple instruments across the record. After a handful of shows at the end of 2025, Snocaps will be put on ice for the foreseeable future, although, as Katie says, "Allison and I have been, in some way, shape or form, doing this together for over 20 years," so it is practically a given that they will work together on music at some point again in the future.

LS002 marks the first vinyl chapter of 20, Eitan Reiter's two-decade retrospective, distilled through key collaborations and remixes. Featuring Patrice Bäumel, Infected Mushroom, Shpongle, Red Axes, and Echo, this six-track release connects psychedelic heritage with contemporary indie dance and deep electronic aesthetics.
20 (Part 1) is a 12-inch vinyl edition featuring exclusive vinyl cuts, available only on this pressing. The selection reflects Reiter's ability to honor his roots while maintaining a distinctly modern sound,blending psychedelic foundations with cluboriented precision.

A1 - Eitan Reiter - Blue Planet (Remix) Vinyl Cut
The A-side opens with a spacious, atmospheric rework of Blue Planet, balancing restrained tension with melodic clarity.
A2 - Eitan Reiter - X-Vision feat. Echo Vinyl Cut
Echo's vocal performance anchors the track, presented here in a refined vinyl cut that enhances its emotional depth.
A3 - Eitan Reiter & A. Balter - E0E (Eitan Reiter Remix) [Vinyl Cut]
A driving, hypnotic groove where rhythmic focus meets evolving textures.
A4 - Infected Mushroom & Yahel - Electro Panic (Eitan Reiter Remix) [Vinyl Cut]
A confident reworking of a psytrance classic, reshaped into an 80s-leaning indie dance format.
B1 - Eitan Reiter - Eat You (Patrice Bäumel Remix)
Patrice Bäumel heightens the track's underlying tension with a slow-building, immersive reinterpretation.
B2 - Out of Orbit & Shpongle - No Disco (Red Axes Remix)
Red Axes flip the original into a dark disco framework, adding weight, swing, and late-night character.

LS002 presents a vinyl-focused snapshot of Eitan Reiter's collaborative output, with each track adapted for turntable playback.

(Extrawelt Remix) The second vinyl installment of 20 shifts focus toward cinematic structure, melodic depth, and genre-crossing reinterpretations. Collaborations and remixes involving Extrawelt, Noga Erez, Perfect Stranger, PRZ, and A. Balter underline Eitan Reiter's refined and flexible production approach.



20 (Part 2) is a 12-inch vinyl release featuring exclusive vinyl cuts that are not available digitally, offering collectors insight into Reiter's evolving sonic language.



LS003 completes the vinyl-only snapshot of 20, presenting carefully selected collaborations adapted for the physical format.

In an engrossing lattice of polyrhythmic beat science and deep atmospheric meditation, Samurai Music is thrilled to welcome Marco Shuttle to the fold for the Sumud EP.

Since his early years locked into the 00s London techno scene, Marco Sartorelli has developed as an artist entirely on his own terms. Through the rush of new ideas and cross-pollination that has characterised cutting-edge techno over the past 20-odd years, Sartorelli has travelled as Marco Shuttle from one considered stylistic concept to the next. On his own Eerie label and across expansive releases for respected outposts such as Spazio Disponibile, Incensio and Astral Industries, he's taken an exploratory approach to rhythm and spatial design while always drawing on intentional thematic frameworks, creating distinctive and immersive dance music in the process.

As Samurai Music continues to celebrate the rich seams of inspiration where deep techno and drum & bass intersect, Sartorelli's malleable, mysterious strain of drum work fits right in and sets a captivating tone for the label's operations in 2026. 'Sumud' is a steely drum mantra dealing in fractured patterns with the primal patina of the early Artificial Intelligence era, while 'Las Dunas de Taroa' leans on gently pulsing melancholia undulating at a half-time pace. 'Iso 50' taps into raw, analogue minimalism once more, evoking the sound of Roman Flugel's Ro70 records in their icy, alien formation. Completing the set, we're guided towards the tense electronica of 'Polylayering What I've Got', where uneasy melodic chimes interlock with intricately programmed drum machines.

There's a distinct sense of golden-era, mid-90s electronica coursing through Sumud EP, but Sartorelli shrouds the classic tools at his disposal in his subtle signature atmospherics, pushing towards a plain of expression that transcends time.

Chris Liebing and Charlotte de Witte announce their second-ever collaborative release, 'Symphonie des Seins' (Symphony of Existence). The release, taking in an original alongside a Dub mix from Liebing, follows 2019's 'Liquid Slow' from the pair and marks the second release ahead of Chris Liebing's 'Evolver EP' releasing in late-March.

A surging acid-beast channelling mid-90s techno energy, 'Symphonie des Seins' sees de Witte delivering a tweaky, spoken
vocal comprising the hallucinogen-fuelled diaries of ayahuasca and DMT trip reports that Liebing stumbled upon online. Crisp
but heady, old school but utterly contemporary with its delivery, 'Symphonie des Seins' sees two techno artists with very
di?erent formative eras converge perfectly with a razor-sharp piece of dancefloor mayhem.

Following January's 'Roy Batty' EP, Chris Liebing and Charlotte de Witte's 'Symphonie des Seins' is the last single before Liebing's thirteen-track 'Evolver' LP lands on March 27th. The 'Evolver LP' features additional collaborations with Luke Slater, Speedy J, The Advent, The Alte Stuben Modular Ensemble aka Daniel Miller, Terence Fixmer, and Pascal Gabriel and is Liebing's first solo Techno LP, having focused on long-form electronica output alongside co-writer Ralf Hildenbeutel for 2018's 'Burn Slow' and 2023's 'Another Day' for Mute Records, and the André Walter co-produced 'Evolution' in 2002.

“Fever” and its Dub version “Influenza Dub” were released together around 1974 (exact year unknown but it has been

registered for copyrights in 1974 & 1972) on 7” vinyl on the Upsetter label, under the name Suzan Cardogan in Jamaica only…

This is therefore the very first release on 7” vinyl of these two Reggae masterpieces outside of Jamaica and it is the first

reissue of the original Jamaican single on 7” vinyl, finally making these two exceptional and popular tracks available again in their original iconic format.

The original Jamaican pressings are now quite rare, expensive and highly in demand among collectors and Reggae enthusiasts alike.

Some grooves don’t rush to the dancefloor — they crawl there, slow and heavy, like smoke wrapping around a bassline. With Fragments of Reality, The Balek Band sculpt an electronic funk that lives between shadow and light — an end-of-the-world fever dream, a Barjavel-style Ravage where chaos turns nihilistic.

No sequencer grid here — just four musicians sharing the same room, shaping air and tension together: drums locked tight with a slap bass, a guitar dripping with echo and heat, and a one-man orchestra behind his machines, weaving acid lines and synth arpeggios while mixing the band live — drenching it in delay, reverb, and saturation, like a dub producer in a Kingston studio, Lee Scratch Perry or King Tubby conjuring ghosts through smoke.

This isn’t fusion — it’s friction. A living ritual where the TB-303 hums, and machines don’t dominate but converse with the human pulse. Each track feels like a night that refuses to end — that humid in-between where trance slips into languor, and the body starts to think for itself.

The record recalls the cosmic jazz of Alain Mion or Eddy Louiss meeting the fiery energy of West African afrobeat musicians freshly arrived in a smoky Belleville basement in the mid-’80s. When The Balek Band summon ghosts, it’s only to reshape them — bending the past into something futuristic, alive, and strangely refreshing. Both disciplined and delirious, Fragments of Reality feels like a promise at dawn: dark funk for the late hours, slow acid for warm blood.

This EP isn’t nostalgic, though it remembers. It’s a transmission from a parallel past — a moment when jazz players met drum machines and decided never to stop playing. Each note sweats, each rhythm breathes. You can almost see the light cutting through the haze, faces half-awake, half-possessed.

The Balek Band aren’t recreating a moment — they’re keeping it alive.
Flesh and cables. Impulse and patience.
A band, not a loop.
A trip, not a format.

Some words from Nat about the music – “For this recording I composed some songs using more “exotic” (for want of a better word) modes,
which I have always meant to explore in more depth but never really got around to very much. The first song for instance, Red, Gold & Green, uses an Ethiopian scale.
The title comes from the colours of the Ethiopian flag, which is also symbolic in Rastafari so has a kind of double meaning, like a lot of my songs.The title track, Path of Enlightenment, uses several modes,
starting in a major key then moving to the Phrygian mode, then to a minor key. The piano solo is in a 28 bar minor blues form. Menat is based on a mode of the Byzantine scale,
I’m not sure if it has a particular name or not. Amenhotep was the name of several Egyptian pharaohs,
Amenhotep IV being the original given name of Akhenaten.When I was writing this song it put me in mind of my song, Akhenaten, simply because they are both in 5/4 time,
so I decided to give this one a pharaonic name too. Spheshile is a Zulu word (and sometimes name) that means “beautiful gift”, the title was suggested by a friend from South Africa.
All this means nothing of course if the music doesn’t tell a story, I think the unfamiliar modes allowed us to speak of interesting things that may not have come to us otherwise.
Finally, I chose to use the quartet format for this recording because it occurred to me that it tends to make for a more cohesive group sound, and it had been a while since we recorded this way.”

Cititrax release Sand Clock, the new full-length album by Men With Secrets, the Italian trio of Donato Dozzy, Lino Monaco, and Nicola Buono (Retina.it). Originally emerging from a shared background in experimental techno under the name Le Officine Di Efesto, the three musicians turned toward classic post-punk, minimal wave, and synth-driven pop with the formation of Men With Secrets. Their debut album Psycho Romance (2020), released on Bunker Records, introduced a meticulously produced body of work that felt like a rediscovered European darkwave recording from the early 1980s—yet was entirely contemporary in its construction.

With Sand Clock, the trio deepen this language. The album leans more directly into the melodic clarity and romantic tension of late-80s and early-90s darkwave and synthpop while maintaining the stark restraint that defines the project. Icy synthesizers, shuddering basslines, and precise drum machine programming frame baritone vocals that are intimate, emotionally exposed, and quietly apocalyptic.

Balancing pop structure with gothic atmosphere, Sand Clock moves between shadowed dance floor momentum and solitary headphone introspection. It is not an exercise in revivalism, but a continuation—an acknowledgment that the emotional architecture of that era remains unresolved and still relevant. Written and produced by Donato Dozzy, Lino Monaco, and Nicola Buono and recorded in Rome and Pompeii.

The vinyl edition is pressed on clear 160-gram vinyl, limited to 500 copies worldwide. Each record is housed in a heavy printed jacket with a printed inner sleeve.

7 Inch Blue Ice Dinked Vinyl in Picture Sleeve

Cold Crush Blue Ice vinyl… what other colour could Tuff City possibly give fans for this seminal early Hip Hop masterpiece on RSD?! The Cold Crush Brothers hold the distinction of being the first-ever Hip Hop group, blazing the trail in the culture’s formative years and opening the door for countless acts to follow. Fresh, wild, fly, and bold, this is true old-school rap at its finest — a nod to the scene’s earliest days, recorded not long after their appearance in the now-cult-classic Wild Style movie. Newly remastered and pressed on a dinked 7” in an original Tuff City branded sleeve, this special-edition colourway brings a legendary moment in Hip Hop history back to life.

Julia Cumming’s solo debut Julia opens with an unadorned declaration of independence: her voice and a piano uniting for a liberating proclamation of self that rejects doubt, misogyny, and the notion of being “too much.” Julia unlocks a creative door years in the making for the New York–born multi-instrumentalist and Sunflower Bean bassist, culminating after nearly two decades of bands, releases, labels, and relentless touring. As Sunflower Bean’s Headful of Sugar era ended in 2023, Cumming decamped to Los Angeles, where a two-year, deeply healing collaboration with producer Brian Robert Jones — her “second artistic puberty” — took shape. Drawing freely from formative influences: Burt Bacharach, Carole King, Joni Mitchell, Carly Simon, and Brian Wilson. Julia emerges as a joyful, anti-cool coming-out: a celebration of the dorks, the misfits, and the enduring truth of being enough.

Julia Cumming’s solo debut Julia opens with an unadorned declaration of independence: her voice and a piano uniting for a liberating proclamation of self that rejects doubt, misogyny, and the notion of being “too much.” Julia unlocks a creative door years in the making for the New York–born multi-instrumentalist and Sunflower Bean bassist, culminating after nearly two decades of bands, releases, labels, and relentless touring. As Sunflower Bean’s Headful of Sugar era ended in 2023, Cumming decamped to Los Angeles, where a two-year, deeply healing collaboration with producer Brian Robert Jones — her “second artistic puberty” — took shape. Drawing freely from formative influences: Burt Bacharach, Carole King, Joni Mitchell, Carly Simon, and Brian Wilson. Julia emerges as a joyful, anti-cool coming-out: a celebration of the dorks, the misfits, and the enduring truth of being enough.

Inspiriert von Vorbildern wie Earth, Wind & Fire, The Bar-Kays und Kool & the Gang erwarb sich die 1975 in Mississippi gegründete Formation Freedom im gesamten Süden einen Ruf als kraftvolle Live-Funk-Band. Die Debütsingle "Can't You See/Sunshine" (1977) klang unglaublich souverän, ausgefeilt, pulsierend und voller Potenzial. "Can't You See" mit seinem modernen Soul-Boogie-Sound und "Sunshine" mit knackigen Bläsern, treibenden Rhythmus und ausgelassener Energie. Tolle Reissue auf Miles Away mit türkisgrünen Labels und originalgetreuem Fotocover.

long content, you may need to expand row to see all... Karajans legendärer Dvořák auf recyceltem Vinyl
Die unverkennbare Kraft und Leidenschaft von Dvořáks Sinfonie Nr. 9 „Aus der Neuen Welt“, eingefangen in Karajans legendärer Aufnahme von 1977 mit den Berliner Philharmonikern, erscheint nun in einer limitierten Edition auf recyceltem Vinyl (ReVinyl / Farbe: Red Appeal) – ein beeindruckendes und nachhaltiges Format. Jede zu 100 % aus recyceltem PVC hergestellte Schallplatte besticht durch eine einzigartige, rot-marmorierte Optik, die sie zu einem echten Unikat macht. Hier trifft eine zeitlose Interpretation auf einen neuen Standard für umweltbewusste Audiophile. Diese Einspielung wird weithin für ihren lebendigen, dramatischen Schwung, ihre üppige emotionale Tiefe und ihre erstklassige orchestrale Präzision gefeiert und gilt als Meilenstein in der Geschichte der klassischen Musikaufzeichnung. Karajans Interpretation offenbart feinfühlig, wie Dvořák die musikalischen Eindrücke seiner amerikanischen Zeit in das unverwechselbare Gefüge seines mitteleuropäischen, romantischen Stils einwebt.

Diffuse Reality presents Rotor Militia - Exit Human A double LP on vinyl, also available in digital format. Eight tracks that will flood your heart, mind, and soul with emotion. Robust and powerful Techno built on off-beats, broken rhythms, and industrial sounds, layered with celestial textures and atmospheres. A constant interplay of immersive drums drives the energy throughout the record. Without a doubt, a very special vinyl, a timeless piece. Prepare yourself for a journey with no return!

Above The Clouds I Finally Found Peace, the latest work from French artist Quelza (Leo Naït Aïssa) on Ostgut Ton, feels like a homecoming.

A testament to introspection and self-awareness.
Rather than adhering strictly to a club-focused approach, the EP marks a step forward in freedom of expression, breaking away from a purely club-based format and instead leading into a broader listening territory. It unfolds as a personal musical journal shaped by perception, memory, and emotion.

As its title suggests, the record carries a spiritual undercurrent. It stands as a sincere sonic statement from a young artist, driven by a clear intention: to express vulnerability and honesty through sound.

The EP invites the listener to let go of expectations formed by previous releases, while preserving the emotional intensity and distinctive sonic identity that have come to define this work in recent years.

„Above The Clouds I Finally Found Peace“, das neueste Werk des französischen Künstlers Quelza (Leo Naït Aïssa) auf Ostgut Ton, fühlt sich wie eine Heimkehr an.

Ein Zeugnis der Selbstreflexion und Selbstwahrnehmung. Anstatt sich strikt an einen cluborientierten Ansatz zu halten, markiert die EP einen Schritt vorwärts in Richtung Ausdrucksfreiheit, bricht mit einem rein clubbasierten Format und führt stattdessen in ein breiteres Hörgebiet. Sie entfaltet sich wie ein persönliches musikalisches Tagebuch, geprägt von Wahrnehmung, Erinnerung und Emotion.

Wie der Titel schon andeutet, hat die Platte eine spirituelle Unterströmung. Sie ist ein aufrichtiges klangliches Statement eines jungen Künstlers, der von einer klaren Absicht getrieben ist: Verletzlichkeit und Ehrlichkeit durch Klang auszudrücken.

Die EP lädt den Hörer dazu ein, die Erwartungen, die durch frühere Veröffentlichungen entstanden sind, loszulassen, während sie gleichzeitig die emotionale Intensität und die unverwechselbare klangliche Identität bewahrt, die dieses Werk in den letzten Jahren geprägt haben.“

Editions Mego welcomes KMRU back to the fold. Kin is Kenyan born, Berlin based, sonic wizard Joseph Kamaru’s second release on Editions Mego, following on from the classic 2020 release Peel. Since the release and subsequent praise for Peel, the artist has been a staple on the electronic scene performing on numerous stages and festivals worldwide in tandem with a flood of media recognition. Kin could be construed as the second child following Peel. The project came out of initial discussions with Peter Rehberg about what a Peel sequel would sound like. Kamaru is quick to clarify that Kin is not that record; “I'll know when that record will come and when I'll make it. It's already happening... or maybe it lives within both of these Mego records”.

It is this deft ambiguity and vague tiptoeing around the concrete that encapsulates the ambiguous sound world of Kamaru’s vision.

Kin was started early 2021 in Nairobi with Kamaru exploring his noisier palette of sounds encompassing distortions reminiscent of the sounds he would muster from in his youth when playing guitar. He paused making this record for a year as soon as Peter died, then slowly returned to it through 2022 resulting in the immense new work we have here.

The charms within Kin lay as Easter eggs revealing the true identity behind the colourful sonics only after multiple deep listens. With Trees Where We Can See sets the tone by way of a warm swaying melody inviting the listener in for further investigation. In 2022 KMRU and Mego stalwart Fennesz toured the USA together resulting in a strong friendship and also, the second track here, Blurred. A neat Mego/Editions Mego loop as such. Blurred arranges twangy guitar strums alongside glistening glaciers of shimmering drones. They Are Here represents a darker hue as melancholic clouds of shadowy noir tap directly into the listener's nerve stream. Maybe takes a detour into a bristling euphoric electronic storm whilst We Are screeches in a pattern formation not unlike a highly abstracted Aphex Twin forcing its way out of a hard drive. By Absence concludes proceedings, operating as both exit music and a portal to further sonic investigation with acoustic bellowing residing amongst a kaleidoscopic backdrop.

Kin is a trip that rewards close repeated listens as all the colours and textures, nuance and narratives unveil themselves. This isn’t a record to be glossed over, magic rewards concentration.

Kin is a record to be Played slow and LOUD.

For Pita.

All tracks written, produced, mixed by Joseph Kamaru
Blurred co-written & produced with Christian Fennesz
Mastered by Stephan Mathieu at Schwebung Mastering
Photography: Joseph Kamaru
Layout & Design: Nik Void
Cut by Andreas Kauffelt at Schnittstelle, Berlin

Melbourne / Naarm stronghold Butter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.

Disc Two lifts off with recurring contributor Rory McPike's first label outing as Rings Around Saturn, a blissed-out cosmic floater skimming the periphery. Booked in the early days of the label's formative Mania residency, Japanese don Gonno twists freestyle, techno and breaks into pure ecstasy, before the unerringly bold Jennifer Loveless spikes the punch with a hallucinatory mix of drums, disembodied voice and jazz club keys.

On the flip, Boorloo's Guy Contact rolls out Dance In The Grey, a shadowy prog churn pitched between new-romantic vocal sheen and EBM muscle, with Kate Miller completely rewiring the script on Sub Series E - a masterfully minimal, double-time meditation. suki presents his Sniper1 alias to close with a demonic body-jacking groove loaded for the system.

Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

Les Rallizes Dénudés returns with Disque 4 -’76 Studio et Live-, the latest in the ongoing series of official archival releases from the celebrated Japanese underground band.

In 1991, Les Rallizes Dénudés released what would become the only official albums issued during the band’s lifetime: ’67-’69 STUDIO et LIVE, MIZUTANI / Les Rallizes Dénudés, and ’77 LIVE. What no one knew at the time was that Takashi Mizutani was already deep into preparing another record.

Disque 4 reconstructs the track list Mizutani had put together for that fourth album. This includes the single “White Awakening," recorded in 1976 at the studio in Takadanobaba BIG BOX as part of the sessions that would become known among collectors as the “Virgin Demos.” Production and mastering of this archival release were handled once again by Makoto Kubota, assembling the album from the masters left behind by Mizutani, utilizing newly discovered tapes as additional sources.

Prepared by Mizutani using a variety of formats, including U-Matic, open reel, and DAT, the tracks were originally labeled with working titles such as “Disque 4” and “Record No. 4,” indicating that Mizutani intended them for inclusion on a possible fourth album. The recordings were taken primarily from studio sessions that all seemed to have taken place around 1976, which aligns with the claim that Mizutani himself once made that “there exists an album of studio recordings made with the same members as ‘77 LIVE.” His notes also suggest an attempt to sequence the tracks as a vinyl LP, splitting them into A and B sides. It's not hard to imagine that in the era of CDs in the early 1990s, an album on analog LP would have been an extremely difficult sell. Thus, the “Fourth Album” had become another lost piece of the intricate Rallizes myth.

Les Rallizes Dénudés may be notorious for the colossal volume and extended song lengths in their live settings. But this work, centered around studio recordings and condensed onto a single LP record, transcends the common impression of the band’s aggressive flood of noise. Instead, the “lyricism” at its core emerges with striking clarity. And needless to say, this is precisely the charm of the Rallizes that continues to captivate fans worldwide today.

Mike Mareen – “Africa” (Previously Unreleased Maxi Single) – A long-lost Italo disco gem finally sees the light of day.

In the mid-80s, Mike Mareen was at the height of his fame, setting charts and dancefloors on fire with hits like “Love Spy” and “Agent of Liberty”. Riding that wave, he began work on his second album “Let’s Start Now”, which featured socially conscious songs addressing issues like the Berlin Wall, German reunification, and famine in Africa.

One standout track, “Africa”, was inspired by movements like Band Aid and USA for Africa. Though recorded and intended as a single, it was mysteriously shelved and never released in maxi format… until now.

Thanks to Vintage Pleasure Boutique, this missing piece of Mareen’s discography is finally available on vinyl, complete with a special DJ Edit crafted for today’s retro selectors. A must-have for fans and collectors of true 80s synth-pop and Italo disco.

Leinenbezogene, foliengeprägte Tip-on-Gatefold-Hülle mit 24-seitigem Comicbuch im LP-Format.

The 3rd collaborative album between Les Claypool (Primus) & Sean Lennon (the previous sold over 150,000 combined) is an elaborate concept record reflecting on morality, the warnings of A.I., and the slippery slope of optimization without empathy. Told across 14 songs - which ooze with classic psychedelic / progressive rock stylings - and the accompanying comic book by Rich Ragsdale, The Great Parrot-Ox and The Golden Egg of Empathy is a peak for both The Claypool-Lennon Delirium and rock music at large.

Timeless and built by one of the legends who helped define the language of house music. Huge support by Ricardo Villalobos. KBMV001 is not just a debut catalogue number on Shelby own label, it is a foundation stone. Authentic, timeless and built by one of the legends who helped define the language of house music. Klassik Blueprint Muzic opens its catalogue with a statement. Widely regarded as one of the pioneers of the Chicago house sound, Shelby?s history reaches back to the formative years of the culture, with early milestones including ?Essence Of A Dream? under his Risqué III alias in 1987 and ?All For Lee-Sah? on Derrick May?s Transmat in 1989.

That legacy is exactly what gives ?OMG (Oh My God)? / ?Who Wants It DEEP?? its force. This is not nostalgia packaged as heritage, it is a living connection to the raw machinery, groove science and emotional depth that made Chicago house a global language in the first place. Shelby has long been associated not only with classic Chicago house, but also with the tougher edges where acid, techno and Detroit-inspired futurism meet, a cross-current reflected throughout his discography and in the way later reissue culture continues to treat his catalogue as foundational. Pressed on 180g vinyl and coming straight from Chicago, USA, this is a release that connects past, present and future in one gesture: authentic house music from a genuine architect, still speaking with authority.

Mit "We Were Made For These Times" feiern die Klezmatics ihr 40-jähriges Bandjubiläum - und veröffentlichen zugleich ein Album, das die Gegenwart direkt anspricht.

Die Grammy-ausgezeichnete Formation verbindet seit vier Jahrzehnten jiddische Musiktradition mit politischem Bewusstsein, kultureller Verantwortung und einem unverwechselbaren Klang, der Klezmer mit Punk-Energie, Jazz-Improvisation, Gospel und globalen Rhythmen verschmilzt. Das neue Album versteht Klezmer nicht als nostalgisches Archiv, sondern als lebendige Ausdrucksform, die Kraft, Verbundenheit und Widerstandsfähigkeit stiftet. In Zeiten gesellschaftlicher Spannungen, globaler Migrationsbewegungen und öffentlicher Debatten über Zugehörigkeit richten die Klezmatics ihren Blick auf die historische Aufgabe jüdischer Musik: Menschlichkeit einfordern, Gemeinschaft stärken und Hoffnung formulieren. Die Songs reichen von Protest- und Arbeiterliedern bis zu spirituellen Stücken und feiern gleichzeitig Lebensfreude, Glauben und kulturelles Gedächtnis. Texte von Woody Guthrie, Holly Near, Dovid Edelstadt oder Chaim Zhitlovsky treffen auf neue Interpretationen und internationale Gäste - darunter Sofía Rei, Janis Siegel, Joshua Nelson, La Manga, William Parker, James Brandon Lewis und Enver Izmaylov. Im Zentrum steht der Titelsong, inspiriert von Dr. Clarissa Pinkola Estés" Botschaft: Wir sind für diese Zeiten gemacht. Das Album bekräftigt, wofür die Klezmatics seit 40 Jahren stehen: Musik als Werkzeug für Mut, Würde und gemeinschaftliche Zukunft.

A rising artist of the French electronic scene, Naajet asserts her identity with The Night Starts Now, a four-track EP that celebrates the freedom and intensity of the night. Co-founder of the Bande de Filles collective and known for her explosive universe blending House, Hardgroove and Breaks, as well as for the unique energy inherited from her dance background, Naajet delivers here a sonic manifesto conceived as an ode to club culture and to the present moment.

“I imagined this EP as an anthem to the world of the night. The night offers us unparalleled freedom, an outlet that allows us to be ourselves, to create, to love. The Night Starts Now captures this celebration of the present moment and this declaration of independence.” Naajet Opening the EP, “Ready To Shine” unfolds radiant House nourished by Pop and 90’s sounds. With a clear and ascending rhythm, the track combines euphoria and introspection. “I composed this track as a joyful and introspective journey that prepares us to embrace the night. For me, it is a call to accept our wounds, to transform them into light and strength, so that we may shine brighter when we enter the club,” explains Naajet. Between ethereal vocal lines and shimmering pads, the track acts as a ritual of entering the night, inviting us to turn wounds into strength and to shine on the dancefloor. The second track of the EP, “Sugar”, embodies the effervescence of the club. Carried by a hypnotic voice and an effervescent rhythm, the track celebrates the communion of bodies and the liberating energy of dance. “It is an ode to dance and to bodies coming together. This track speaks of those moments when, on the dancefloor, boundaries fall: we sweat together, we free ourselves together, and energy flows from one body to another,” says Naajet. A true concentrate of intensity, “Sugar” captures the moment when sweat, rhythm and abandon merge into a collective movement towards freedom.

With “I Can Be Anything”, Naajet changes register and flirts with deeper, even techno textures. Built on a throbbing pulse and sharp synths, this track is meant as a manifesto of identity. “I really wanted to propose a track that claims our right to free and plural expression and sexuality. I Can Be Anything is about our multiple identities, our ability to reinvent ourselves and to refuse any form of formatting,” she says. Between club intensity and political resonance, “I Can Be Anything” questions our multiple facets and embodies the assertion of an elusive and free self. Closing the EP on an euphoric note, “May It Never End” stands out with its broken rhythms and powerful synths. The track conveys the transcendent energy of the end of the night, when dawn arrives but we refuse to leave the collective trance. “I wanted to put into music this feeling of infinite energy, when time is suspended and the party seems to never have to stop. It is this euphoric vertigo that connects us all in the same breath, this utopia of a night that would never end,” says Naajet. A true apotheosis, this track embodies the utopia of an eternal night.

DJ, producer and co-founder of the Bande de Filles collective, Naajet has established herself with a singular universe where House, Hardgroove and Breaks blend, nourished by her background as a dancer and an instinctive sense of groove. For the past three years, she has performed on French and European stages – from Berlin to Amsterdam, via Geneva and Oslo – and has made her mark in clubs such as Rex Club, Le Sucre and Badaboum, as well as festivals like Nuits Sonores and Kolorz. On the production side, she has released several acclaimed EPs on renowned labels such as Shall Not Fade and Monki & Friends. In 2025, she takes a new step with the launch of her label SWEAT Records and a residency at Le Sacré in Paris, affirming her role as an ambassador of a free and intense club culture. She also collaborates with the waacking company MADOKI, for which she composes and mixes projects at the crossroads of dance and music. With The Night Starts Now, Naajet confirms her status as an essential artist of the new electronic generation1

25 years ago, at the turn of the millennium, downtown NYC was spoiled with record stores. In this pre-digital age, vinyl was king for club DJs, and shops such as Downtown 161, Dance Tracks, and Vinyl Mania peppered lower Manhattan, thriving businesses that supported an expanding scene of local and international DJs. Perhaps the largest and most established of these was Satellite Records, an institution of club sounds that also spawned multiple record labels, including the deep-house imprint Central Park Recordings.

At this time, Central Park Recordings and Satellite Records owner Scott Richmond signed a demo in need of a vocal from young British producer Alistair Colling, and enlisted John-Christian Urich to write it, who had just had a massive hit with “I Might Do Something Wrong” the debut Tortured Soul single on Central Park. He in turn brought in Sabina Sciubba of then newly-formed band Brazilian Girls to record the vocal, and with Jon Cutler on remix duties the record was complete. Tortured Soul went on to release numerous deep house classics like “Fall In Love,” “How’s Your Life” and have continued to tour as a groundbreaking live-house act to this day (of which RNT co-founder JKriv was bassist and collaborator for 10 years).

For the 25th anniversary of this turning point release, Razor-N-Tape has rebooted and remastered the original and classic Jon Cutler mixes, which have never been reissued in any format since the original release. RNT also commissioned two new exemplary remixes from DJ Spinna and musclecars, connecting the dots between the deep-house lineage of the past and present. Presented in a gorgeous jacket that calls back to the graphical style of the original Central Park Recordings aesthetic, this 12” is an absolute essential for any lover of soulful club sounds or purveyor of NYC dance music history.

Clusters of Noise LPR-V006, kicks off 2026 for Loopaina Records with a powerful vinyl release crafted by two standout names in the international techno scene: Oliver Rosemann and Carmelo Ponente. Photo taken in Mundukalogue between both artists, each delivering their own raw, focused vision of contemporary techno.

The A-side features one original track from each artist, clearly defining their individual styles.

On the B-side, they switch roles to offer remixes of each other's work-expanding the sonic palette of the release while maintaining a cohesive and impactful sound.

Clusters of Noise is a bold statement for the new year at Loopaina Records: quality sound, committed artists, and a strong devotion to the vinyl format while embracing digital as well. A solid, high-impact release that perfectly captures the spirit of the label.

All music written and produced by Oliver Rosemann & Carmelo Ponente

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.

You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left.

So everybody, don't sleep, be critical.

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.

You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left.

So everybody, don't sleep, be critical.

In a year which marks the 40th anniversary since the initial formation - under the moniker of Black Death - of what would subsequently grow into influential genre legends, 2026 marks the return of the imperishable Norwegian duo of Fenriz & Nocturno Culto for their new opus of high calibre old metal, under the banner of ‘Pre-Historic Metal’. As Fenriz himself proclaims of the title’s symbolic origin, “Prehistoric is a loose term. I just figure it’s our VIBE, our take on things & it’s more a statement that we use old style to create something new”.

‘Pre-Historic Metal’ contains eight tracks of primal epics & gargantuan riffs with organic sound & the ever-present permeating spirit of the 70’s & 80’s, for a new continuation of the mastery witnessed on 2024’s ‘It Beckons Us All’. This next chapter in Darkthrone’s extensive & ongoing catalogue presents a vast odyssey through the sonic landscapes of Thrash, Black, Heavy & Doom Metal &, adorned with a punishing & “in your face” guitar presence, Darkthrone stirs the cauldron of savage creativity with a nod to the writing methods which were indicative of their earlier works of the late 80’s, but with a more refined craft.

'Pre-Historic Metal' was recorded at Chaka Khan Studios, Oslo, with production work conducted by Ole Øvstedal, Silje Høgevold & Mads Luis. Mastering was carried out by Jack Control at Enormous Door, & Maor Appelbaum Mastering.

This edition of 'Pre-Historic Metal' is presented on black vinyl.

2025 Repress

Quickly following March’s The Fool - our label debut - Sa Pa reveals his new album Ambeesh on Short Span.

Coming five years after In A Landscape, and nearly a decade since his debut Fuubutsushi, Ambeesh pulls together a previously hidden body of work.

Written between 2014-2019 and long held in reserve awaiting the right moment for release, the album has often been grouped conceptually as a follow up to his FORUM debut. There’s a strong through line connecting the unique language and liveliness of ambient, layered field recordings, and dub techno found in those earlier records, as well as the seamless skydive through pressure formations found in the Enter Sa Pa production mix, which hinted at several of these tracks.

These pieces have taken time to surface and fully catch the light, but there’s still little else that compares. It’s a cache of some of his deepest and most texturally thrilling music, some of which have been rattling around in our ears and minds and conversation for years and have now found the right home and time. Forward thinking and singular in its combination of atmosphere; Ambeesh can press on the body at the right volume, and moves in thrust and riposte with the listener’s circadian rhythms. Sa Pa continues to dissolve the border between club-informed experimentation and intimate headphone listening.

Ambeesh also marks the artist’s return to Australia and the beginning of a new phase.

Mastered by Miles. Digital release of Lexanconical mastered by CGB @ Dubplates & Mastering.

Art from The Designers Republic.