Cerca:the knife

Our next baked Live Pressing is with Sydney post-punk outfit Mac The Knife.

Where we’ll be recording two tracks, live at The Workers Club in Fitzroy on Saturday 2nd November.

They'll be bringing the raucous energy and we'll be capturing it and sealing it up on green wax.

This release captures the joyous and confrontational performance by the pioneering experimental electronic-pop outfit The Knife, 'Shaking the Habitual: Live at Terminal 5.' After a seven-year hiatus from playing live, the resulting musical saw The Knife expand from Karin Dreijer and Olof Dreijer to a 11-piece dance troupe. The show was recorded at the Hell’s Kitchen venue Terminal 5 in 2014. It was the Knife’s last tour before the band called it quits in November of that year

Year of The Knife have announced their new album, No Love Lost, due out October 27th from Pure Noise Records. The album finds Year of The Knife at their most sonically honed with nine lean and vicious songs that clock in at a blistering 20 minutes. Recorded by Kurt Ballou (Nails, The Armed, Code Orange), No Love Lost sounds truly massive, a crushing amalgam of hardcore and death metal influences that demands your attention and stays with you long after its concise runtime. To mark the album's announcement, Year of The Knife have shared two new singles, the 86 second "Wish" and 48 second "Last Laugh," highlighting both the economy of songwriting and the level aggression found on No Love Lost. Both tracks also include guest vocals from some of heavy music's greatest, with the former featuring Devin Swank of Sanguisugabogg and the latter featuring Dylan Walker of Full of Hell. In late June, Year of The Knife were involved in a car accident while on tour. All four members endured serious injuries, especially vocalist Madison Watkins, who suffered many broken bones and a traumatic brain injury. No Love Lost sounds even more urgent and defiant in light of the band's recent circumstances, and profits from the album's sales will be going directly to the members' ongoing recovery efforts.

Die Sängerin und Songwriterin Maggie Rogers wird am 18.01.2019 ihr Debütalbum - Heard It In A Past
Life' veröffentlichen. Ihre neuste Single - Light On' ist ein Brief an ihre Fans, in dem sie ihre Gefühle
über die zwei vergangenen Jahre ihres Lebens wiederspiegelt. Maggie wird als Support-Act die Band
Mumford & Sons auf ihrer Tour durch Nordamerika unterstützen.

Sie schrieb Rihannas Überhit "Diamonds" (in 14 Minuten!), sang und schrieb die David Guetta-Hits "Titanium" und "She Wolf" sowie Flo Ridas Millionseller "Wild One" und komponierte zahllose Songs für Katy Perry, Beyoncé, Britney Spears, Birdy, Christina Aguilera, Kylie Minogue und Eminem. Im vergangenen Jahr gab sie mit dem Song "Elastic Heart" (auf dem "The Hunger GamesSoundtrack" und auch auf ihrem kommenden Album) ihr internationales Chart-Comeback unter eigenem Namen. 2014 veröffentlicht die australische Sängerin und Songwriterin SIA nun endlich ein neues, eigenes Album "1000 Forms Of Fear". Die 1. Vorabsingle ist die in jedweder Hinsicht atemberaubende Pop-Hyme "Chandelier", die mit Jesse Shatkin entstanden war und von ihrem langjährigen Studiopartner Greg Kurstin (P!NK, Lily Allen etc.) produziert wurde. In ihrer Karriere veröffentlichte Sia bislang 5 Solo-Alben, zuletzt 2010 die LP "We Are Born", die Platz 2 der australischen Charts erreichte und ihr auch in Deutschland die erste Album-Chartplatzierung bescherte. Das Billboard Magazin widmete ihr eine Titelgeschichte mit der Headline: "This artist is responsible for 12 million track sales... and doesn't want to be famous".

Cut The With The Cake Knife was recorded by Rose McDowall in 1988/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career.

Tibet opens the set and could be one of the best pop songs you've never heard. The innate sadness of the songs' content - the loss of a friendship, impending sorrow - is heightened to heart-melting level by McDowall's pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall's vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade's early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group's hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music.

Rose McDowall's role in the canon has always been one of an outsider. Beginning in Glasgow's East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: 'They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and suddenly everyone was crying. And I thought, "that's power."

Night School's issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7' 'Don't Fear The Reaper.' First vinyl pressing is Clear w/ Black swirl; 500 only / has DL card and booklet, with a poster
CD has extensive booklet and is packaged in anO-Card.

The Macks are brothers Josef and Ben Windheim, Sam Fulwiler, Jacob Michael Perris, and Aidan Harrison. In 2022, the band came out with their lockdown project "Rabbit." Their raw and progressive take on rock and roll launched the band towards festivals and tours from Idaho to Mexico City. Now in 2024 The Macks are cutting deep. The band will release The Macks Are A Knife in a dogged pursuit of being the sharpest band from the PNW to date.

Belgian label founded by Viernulvier Arts Centre (formerly Vooruit) to release music composed for theatre, dance and performances.

Viernulvier Records‘ first release will be The Shedding of Skin, the debut album from the Belgian-Iraqi Use Knife, set to be released on September 30, 2022.

Use Knife is the music project of Stef Heeren, Kwinten Mordijck and Saif Al-Qaissy, in collaboration with multidisciplinary artist Youniss Ahamad. The project first emerged when Stef and Kwinten, both also active members of Kiss The Anus Of A Black Cat, met Saif during auditions for a dance performance. The musical possibilities that presented themselves gave the gentlemen the drive to start the journey of uniting their Belgian and Iraqi musical backgrounds.

The album’s title, The Shedding of Skin, refers to the human survival instinct, the desire to leave war and disaster behind and build a new life in a completely different environment.

In addition to making music and composing together, Saif, Kwinten and Stef had countless conversations in order to gain insight into each other’s lives. These conversations are reflected in the song lyrics: for one of them, the worst is all behind them and they are focused on a brighter future, while the other is aware of all the privileges he has been given. The need to address this inequality is reflected in the combination of dreamy Arab songs with punky Dadaist touches.

For the recordings of the Arabic percussion, vocals and wind instruments, the band worked together with Joris Caluwaerts (Stuff., Lady Linn, Hydrogen Sea,…) in his Finster Studio. The mastering was done by Frederik Dejongh aka Jerboa Mastering. Youniss Ahamad provided the artwork, Farah Fayyad converted the English album title into Arabic script and Jef Cuypers and Chloé D’hauwe realised the graphic design of the cover.

Demon Records presents the second part of His Dark Materials – now a major TV series.
In this BBC Radio full-cast dramatisation of The Subtle Knife Will finds an opening into the haunted world of Cittàgazze - where daemon-destroying Spectres roam – and meets Lyra for the first time. This thrilling adaptation stars Daniel Anthony as Will, Lulu Popplewell as Lyra, Emma Fielding as Mrs Coulter, Tracy-Ann Oberman as Serafina Pekkala, and Peter Marinker as Lee Scorseby, with a large supporting cast.
A lavish gatefold sleeve features Dust-inspired illustrations, spectacularly realised in metallic copper ink, plus full cast and production details and exclusive sleeve notes by Philip Pullman himself. This gripping drama is presented on three heavyweight 180g discs of Daemonic Dustburst splatter vinyl.
Philip Pullman’s bestselling trilogy of children’s books, which has sold more than 19 million copies worldwide, is now the inspiration for the major HBO/BBC TV series His Dark Materials.

Having previously released a slew of tapes on labels such as Clan Destine Records and Live Adult Entertainment, Penelope’s Fiancé lands on Hypermedium for his vinyl debut. Hailing from Stavroupoli, Thessaloniki, Penelope’s Fiancé has been keeping over the past few years a fast pace of work, constantly producing tracks and releasing new music, having shaped a unique sound that drifts across the borders of lo-fi, post-industrial and fuzzy techno. The Cutting Edge Of A Knife is the culmination of all these previous excursions, a solid display of his ability to craft emotionally intense tracks, merging a ghostly, gloomy grandeur with squelching percussive patterns. Opener ‘Lethe’ emerges from the haze with its cryptic atmosphere, moulded in lethargic drones, scattered vocalisms and sparse yet piercing beats and rhythmic build-ups. A panic-fuelled, 160bpm ravey epic, ‘Futile Endevours’ brandishes an ecstatic, pumelling rhythm over recurring trance- flavored melodic phrases and unnerving vocal samples. ‘I Wasn’t Always There’ is a seductive, dark elegy whose melancholic and lush synth melodies wash over chopping kicks and ice-cold hi-hats. ‘Anxiety’ sounds like a slow techno roller, where frozen metallic percussion meets a cavernous bass, right before the off-kilter, cacophonous buzz of ‘The Lie Closest To The Truth’. Closing track ‘The Cutting Edge Of A Knife’ is an intoxicated oriental-stepper, soaked in vaporous middle-eastern percussion and muezzin-like chants.

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

The pure blues of Bror Gunnar Jansson is back in town !!! Better take your time and listen carefully !!!

One of the world's most iconic drum & bass acts, Pendulum have announced their return for 2018 with a brand new album and brand new live shows. 'The Reworks' is a project unlike any
other released by the band before, and marks the end of their seven year hiatus, officially launching on 16th March.

To mark their return, the band have announced their first headline show since 2011 at London's unique new space, Printworks . The show sold out in under an hour and will be both an auditory and visual spectacle for fans.

Also announced is Pendulum's return to one of the UK's biggest events - Reading and Leeds Festival . Headlining the BBC Radio 1 stage - the same slot they graced the last time they played in 2010, the shows mark a welcome return for the band in the UK.

The news will undoubtedly be well received by Pendulum 's legions of fans, with the band having hinted at a comeback by returning to the live stage last year, headlining the UK's South
West Four and Nass Festival , and confirming for this years Snowbombing festival in Austria.
For 'The Reworks' , the internationally-renowned band have tapped some of the most innovative talents from over the past few years to deliver dynamic and refreshing interpretations of their
biggest hits and some of their personal favourites. Friends and collaborators Skrillex , Icarus ,Knife Party and Matrix & Futurebound take their turn on this who's who of electronic music
royalty, whilst Noisia 's explosive cut of the now-iconic track 'Hold Your Colour' will be available with the album preorder from the 16th March.

'The Reworks' album will be available in both CD and vinyl formats from the 29th June.

This exciting announcement marks the beginning of a new era for Pendulum , who have long been considered one of electronic music's most important and pioneering acts, famed for their
no-holds-barred live shows. With more huge festival dates TBA across the summer and new originals on the horizon, 2018 marks the an exciting chapter in Pendulum's already lengthy career.

Noisia' s remix of ' Hold your Colour' , the first single to be taken from Pendulum 's 'The Reworks' album, is set for release on 16th March alongside the preorder, with the full album set to drop on 29th June.

Chicago's Justin Aulis Long And Ken Zawacki Return To L.i.e.s. With Their Second Ep Under Their Circling Vultures Moniker. On This Offering We Get Four Tracks Of Tough Yet Psychedelic Machine Music. From Slow Bpm Beaters To Metal On Metal Floor Cuts, These Are Executed With Precision To Do Maximum Damage Whenever Played. Sinking Their Teeth In And Never Letting Go, Looming Over And Waiting For The Right Moment To Strike...tense Music For The End Times! Another Killer From These Seasoned Club Vets.

This box contains all four solo albums by Bill Wyman, the first Rolling Stone to release a solo record. The first two (from 1974
and 1976, both issued on Rolling Stones Records) were made the help of a galaxy of musical friends like Lowell George, Dr John,
Joe Walsh, Van Morrison, the Pointer Sisters, Danny Kortchmar, Dallas Taylor, Leon Russell, Bob Welch and Nicky Hopkins.
- The eponymous third album was home to Bill's 1981 big hit single (Si Si) Je Suis Un Rock Star' as well as follow-up hits
Come Back Suzanne', A New Fashion' and Visions, while fourth album Stuff' appeared in 1992, originally in Japan only.
- The albums are now issued on vinyl for the first time since their original release (and 'Stuff' on vinyl for the first time ever),
gathered together in a beautiful rigid slipcase. The new inner sleeves feature all the lyrics and the musician credits.

It's been five years since his acclaimed debut 'Severant' and time has proved it prescient, its futuristic trap influence is now ubiquitous. 'Slow Knife' seems to return to where 'Severant' left off, but with the intricate sound design of last year's haunting EP 'Assertion Of A Surrounding Presence' subsumed into the compositions, making them more exacting and beautifully crafted. Between albums Kuedo has been working as a sound designer and composer for hire and the application of intent and widescreen rigour that commercial work requires has definitely found its way into the new album. 'Slow Knife' has the subtlety, ambition and pacing of a brilliant soundtrack - a sense of an album of scenes, that easily lends itself to an impressionistic narrative. But, as with 'Severant', the title suggests relationship unease, with the slow knife being a metaphor for the building resentment in any close relationship. 'Slow Knife' is almost two albums, the first half, according to Kuedo, invokes the seduction of the city, taking the music of Michael Mann's 'Manhunter' as a cue, with the latter half being inspired by the bloody starscapes and voodoo wilderness of films such as 'Angel Heart', 'Night Of The Hunter' and more recently the 'True Detective' series. Both halves of the album are also in thrall to Mica Levi's inspiring 'Under The Skin' soundtrack, especially in the turbulence of the mid-section. The songs of the albums first half are synthetic and seductive, a gelatinous veil with shades of the pseudo-sophisticated trance of Enigma, of all things, underpinned with dusky unsettling shadows and atmosphere. 'In Your Sleep', perhaps surprisingly, features the vocals of Hayden Thorpe from Wild Beasts, who settles his dark, whispered vocals into the moonlit shadowy atmosphere. 'Floating Forest' is the first track to allow back some of Kuedo's experimentation with the Southern rap template, which he explored before it became commonplace, with echoed drum splashes and a sinister repetitive motif, ending with a haunting growl. The second half of the album enters wilderness territory with 'Approaching's slow descending notes, before 'Broken Fox - Black Hole' throws the record into the cathartic darkness, as undulating chords play hide and seek with riotous reeds and scratchy strings grown from challenging collaborations with cello player Koenraad Ecker (from Lumisokea). 'Breaking The Surface' shivers and coils, before metal and strings dominate while 'In Your Skin' feels like being lost in a vast hinterland before 'Warmer Light' introduces some memories of sunshine, with its plucked bassline and spiralling dub. 'Halogen Light' opens with the sound of crickets and a clear piano, cleansing the soul before 'Lathe' brings things down to earth with a short, yet powerful coda.

Der international gefragte DJ und Produzent George Fitzgerald veröffentlicht sein lang erwartetes Debütalbum auf Domino! "Fading Love" ist das Debütalbum des britischen DJs und Produzenten George FitzGerald. Die zehn Songs wurden in London und in Georges Wahlheimat Berlin aufgenommen und produziert. George hat mit seiner Kombination aus House, Garage, Techno und Dub seinen eigenen Sound gefunden und sich in den letzen Jahren in der internationalen DJ- und Produzenten-Szene einen Namen gemacht. Seit zwei Jahren hat er eine Residency bei BBC Radio 1 inne. 2013 begann er an den Albumtracks zu arbeiten.

Deep, deep stuff on the debut album from K Wata. Long and dubwise, dark and detailed. With bass that fills and warms a space.

All noir. Cast shadows against the wall. Weight being shifted and distributed with singularly delicate poise, like a knife being balanced on the end of a finger.

There’s a silvery, loose flow state to this record that maybe reveals the way some tracks were first written to be deployed live at Sustain Release 2025. Then taken back to the lab and tightened up further into the album’s final form, with beautiful mixing work between Kenzo and Chris Botta.

With that in mind, Give U Space unfolds slowly and fluidly, giving the listener the chance to access and open up to the deepness of the sound, being led down a path. It rolls and builds momentum and groove, and ratchets tensions up toward peaks of energy "Whisper Dub" and "There Will Be Love".

The tunes feel architectural. Rooms to be in and settle into. Simultaneously stripped back and then etched with neat little details and characterful or atmospheric sound choices. The silhouette of slo mo Memphis and Houston trap is a leading influence, especially with the drums. Mixing with bits of click’n’cut sampling and psychoacoustic tricks, the penumbra of dub techno and drowsier dubstep, and SG’s soft vocals rising in the ether.

The presence and inspiration of the sound system is obvious in all of Kenzo’s work, the music can rattle when spun up louder or blended into the club. But K Wata’s uniqueness and signature comes from an often equally inward facing quality, touched by distance and longing and a sort of chiaroscuro incandescent light set up.



Written and produced by K Wata.

Mixed by K Wata and Christopher Botta at Fer Sound Studio.

Vocals on “Give You Space” and “Go” by SG.

Clarinet on “Radio Embrace” by Eugene Lai.

Mastered and cut by Mike Grinser at Manmade.

Art by S. Gong

They Call Us The Lucky Ones is a road-worn portrait of modern Americana — songs about movement, memory, love, and survival, exploring the space between freedom and consequence where highways replace homes and connection becomes the true measure of success. The album tells stories of outsiders and drifters, chosen family and lost friends, broken systems and restless ambition — and the ghosts we carry no matter how far we run. Yet for all its hard-earned perspective, the record carries an undeniable sense of hope: a clarity that comes from a life lived in motion, the humor found along the way, and the simple joy of playing music with people you trust. It’s a record that knows how to have a good time without losing its soul. This collection of ten songs finds Ryan Bingham at his best — where life isn’t always about perfection or redemption, but about connection. Because no matter how far you go, how fast you run, or how loud the music gets, all that matters is the people and stories you carry with you along the way.

They Call Us The Lucky Ones is a road-worn portrait of modern Americana — songs about movement, memory, love, and survival, exploring the space between freedom and consequence where highways replace homes and connection becomes the true measure of success. The album tells stories of outsiders and drifters, chosen family and lost friends, broken systems and restless ambition — and the ghosts we carry no matter how far we run. Yet for all its hard-earned perspective, the record carries an undeniable sense of hope: a clarity that comes from a life lived in motion, the humor found along the way, and the simple joy of playing music with people you trust. It’s a record that knows how to have a good time without losing its soul. This collection of ten songs finds Ryan Bingham at his best — where life isn’t always about perfection or redemption, but about connection. Because no matter how far you go, how fast you run, or how loud the music gets, all that matters is the people and stories you carry with you along the way.

Carrier’s debut album features eight elegantly rude arrangements that dance in negative space between Photek’s frictional syncopations, Rhythm & Sound’s dubwise minimalism, and Torsten Pröfrock’s fractured dynamics, bolstered on two tracks by contributions from Voice Actor and Memotone, summoning a noirish, jazzier frisson to his signature metrics and temporalities.

Since hard-snagging our ears and feet in 2023 with 12”s for FELT and his own eponymous label, Guy Brewer’s Carrier has become the go-to project for anyone who had almost given up on chasing these sorts of ultra-subtle but vitally distinctive new permutations in dance music. For the past two years, his unpredictable variations within a style have kept us all tip-toed and seat-edged with organisations of a finely chiselled percussive palette and smouldering ambient noise that distils the salient aspects and spirits of D&B, dub techno, electro-acoustic music, and trip hop with unique traction. In effect, he’s enacted a clear leap of imagination from previous work issued as part of Commix and solo as Shifted that only continues to reveal hallucinatory psychoacoustics on this first album detail.

»Rhythm Immortal« sees Brewer tilt the project into slower, resoundingly more atmospheric realms, better to luxuriate in the instinctive guile and integer-stepping style ’n’ pattern of his incredible sound. At the album’s poles, a vocal cameo by cult gynoid Voice Actor follows from Gavsborg’s on a preceding 7” single to ideally model his sound’s mutability and compatibility with trip hop forms, and Memotone helps seal the deal with a hovering glow lent to »Offshore«, whilst Carrier jostles the reins throughout with masterful control of his thing, crisply purposed to the album canvas. In that context, it’s perfectly adaptable to bodies both supine or in motion, ushering a hypnagogic sway with »A Point Most Crucial«, and hingeing around the slightest interplay of 16th-note hi-hat ruffles and recoiling reverbs on »Outer Shell«, or blissfully stepping on knife-edge 2-step on »Wave After Wave«.

The album conveys a deeply personal pulse and spiritual devotion to that kind of all-tension-no-release mode typical of so much music we love – from Kode9’s earliest re-factoring of Prince to Photek’s »Ni-Ten-Ichi-Ryu«, from T++/Dynamo and Traktor’s asymmetric dynamics to Burial’s shockout debut – refactored with a rare conviction in its unspoken powers to activate the eyes-shut imagination.

Douglas Robinson and Sal Mignano (both of The Sleeping) and Josh Eppard (co-founding member of Coheed And Cambria) share passions for authentic expression and genuine creativity. Held. isn’t so much a beginning as it is a culmination. The post-hardcore trio’s debut album, GREY, arrives fully realized, not as the tentative first step of newcomers, but as the collective fire of seasoned lifers discovering a new language together. It’s the sound of raw instinct coalescing with earned wisdom. GREY doesn’t announce itself so much as it emerges, inevitable and undeniable, like thunder rolling across a dark horizon.

It’s a force that feels eternal. Held.’s music feels elemental, evoking storms crashing against jagged cliffs or burning embers kindling, ready to reignite at any moment. It’s urgent and relentless, yet also spacious, textured, and deeply human. There’s gravity in every note, the kind that comes from survival turned into strength. Their sound is born of paradox: fiercely old-school in its emphasis on live performance and feel, but modern in its production and scope. Each song sounds both timeless and timely. Held. is less a band than a force: fierce yet vulnerable, raw yet refined. They play as if the walls themselves are trembling, channeling a purity that feels rare in an age of algorithmic noise. Listening isn’t consumption—it’s recognition, like rediscovering something thats always been within you. Held. carve out a place that feels both unshakably grounded and dangerously alive. Its more than music—its an invocation, a reminder of the raw pulse that connects struggle to transcendence. For those who find themselves in the storm, Held. offer not escape, but resonance: proof that inevitability can sound like liberation.

First new album in 6 years along with being their EVR debut album. Brett Romnes (Hot Mulligan, The Front Bottoms, Mom Jeans) produced the record along with being the drummer of the band. I Am The Avalanche features members of The Movielife, Head Automatica, Crime In Stereo, and Such Gold. Vinyl White Swirl LP limited to 250 available, Rude Records Exclusive

Prism Shores return with Softest Attack, produced by Scott "Monty" Munro, the album blends '90s power pop crunch and shoegaze shimmer in their most collaborative and ambitious release yet. Montreal janglers Prism Shores return with a sharper, more immediate follow-up to their acclaimed 2025 breakthrough Out From Underneath. While the previous record leaned into atmosphere, this new album doubles down on hooks, maximalist guitars, and the pure strength of their melancholic songwriting. Produced by Scott "Monty" Munro (Preoccupations) and mixed by René Wilson, Softest Attack blends jangle pop, '90spower pop, and shoegaze with clear echoes of The Wedding Present, Teenage Fanclub, and My Bloody Valentine all filtered through the band's Dunedin-inspired indiepop sensibility. For the first time, all four members contribute lyrics and lead vocals, marking their most collaborative and ambitious effort yet. Softest Attack is Prism Shores' boldest attempt to craft a top-tier indiepop record: bigger, brighter, and overflowing with guitars, but always anchored by undeniable melody.

Berlin-based duo Disguised land on Mutual Rytm with a splash of signature driving techno on ‘Nightrun’. German-born, Berlin-based pairing Alvaro and Domenik are Disguised, a duo that feels closely connected to their favourite club RSO and its Robus Floor, where most of their musical inspirations happen. They head up their own label, Inherit Records, and also host parties at Berlin's new C115 venue on the Berlin highway. Already this year, they have dropped an impressive collaborative EP with their studio partner and close friend Fabio, aka FANK, who features on this EP with his own vocals. Their sound is always defined by driving drums and hypnotic melodies that build up to intense dancefloor peaks, and here they showcase this to its fullest on their Mutual Rytm label debut via five vinyl-only cuts and three digital bonuses built and crafted to make a lasting impact. The powerful 'Where Thoughts End (ft. FANK)' rises up through the ground like an oncoming train, as drums rumble, synths peel off the groove, and moody voices have you looking over your shoulder. 'Nightrun' is glitchier and more textured, with a fractured energy that keeps you on your toes. 'Crusher Wheels' is a deep, back-lit, and trance-inducing sound made for 4am, while 'Ashes and Algorithms' layers up eerie melodic details with bulky drums for a spare but atmospheric trip. 'All You Find (ft. FANK)' is dubby, greyscale techno with a muscular rhythm and unsettling synths, taut and tensile, balancing right on a knife-edge. Three digital bonuses explore different moods - the subtle melodic touches of 'Silent Pulse', the cosmic energy of 'Sceptre Rd', and the rising optimism of 'Twinfall’.

The album was produced by Nick Raskulinecz (Foo Fighters, Rush, Alice In Chains) who became a believer after just a few songs of a ’68 set while the band was touring with Stone Sour last year.

London trio, thredd’s, acclaimed 2025 debut ‘It’s Lovely, Come On In’ available for the first time on vinyl. thredd is the latest project from musicians Will Lister, Max Winter, and Imogen and The Knife who came together as the first (and only) band formed during the infamous Laylow residency in West London.

Over the course of 4 weeks in November 2023, the trio set up a makeshift studio in Laylow’s basement venue and wrote music to be performed live each Wednesday, embracing a raw, immediate approach with no room for overthinking. The result is a sound they call “cold pop”, a mix of atmospheric textures, sharp melodies, and emotional depth. Since then, they’ve built on their diverse strengths having already played the ICA and supported Nourished by Time across the UK.

Having shared a studio in South London together since 2020, the trio have collaborated and cross-pollinated their musical approach while taking time to hone their individual crafts; Will’s drum programming and production, Max’s ear for harmony and composition, Immy’s lyrics, melody and vocal delivery. With music that both feels familiar yet boundary pushing, ear catching and intriguing, it becomes a true sum of its parts celebrating the individualism of each musician.

The album ‘It’s Lovely, Come On In’ moves between late-night indie, synth- driven pop, and stripped-back songwriting with emotional weight. Tracks like ‘Horseshow’ showcase Will’s tight post-triphop inspired beats, Max’s harmonic instincts, and Immy’s evocative vocals. ‘We Don’t Speak Anymore’ came together in a day, capturing a sharp, defiant energy. ‘Something For My Head’ is a late-night, anxious love song, while the title track has a defiant repetitive energy. The lead single ‘Party’ bursts with bold, euphoric energy, and ‘Funny Girl’ strips back to something vulnerable, inspired by a haunting vocal sample and personal notes.

The record channels the layered, mysterious atmosphere of Laylow’s basement, shaped by the building’s winding corridors and hidden rooms. Themes of fatigue, release, and creative survival run throughout, born from a pressure-free, collaborative process.

‘It’s Lovely, Come On In’ feels honest and immediate, a collection made to capture a moment, not polish it away. As they put it, the record is for people who are “Up for a party, down for a cry.” The album doesn’t make grand claims; it simply invites you in.

Crypt of the Wizard is proud to present Scimitar – Scimitarium I on vinyl and digital formats. Formed in 2024 by veterans of Copenhagen’s underground music scene—including members of Slaegt, Endless Glory, and Shaam Larein—Scimitar arrives as a fully formed force of nature. In their raucous wake lies Scimitarium I, a frenzied, whirling dervish of black occult rock. For those familiar with the members' previous efforts, this should come as no surprise. This piece of musical alchemy is a perfect knife-edge dance, seamlessly blending elements of black metal, post-punk, and occult rock. Dark and serpentine, onyx black, scaled and sacred, Scimitarium I unfurls itself like an endless snake wrapped tight around the world. With a dark heart and a head full of fever dreams, this is an album of breathless intensity. Shaam A.’s constant presence provides an abundance of rich, overflowing lyrics, delivered in her distinctive and haunting voice—written as if hurriedly scrawled in feverish reverie—and reinforced by winding, twisted narratives played out on violent yet harmonic duelling guitars, alongside a rhythm section of unyielding intensity. Scimitar has quickly become an indelible part of the city's fertile and ever-evolving metal scene—a place where stalwarts continue to push boundaries and break moulds with seemingly effortless zeal. This is an album of forged perfection, honed and sharpened like a curved blade—shimmering with lethal precision—driven straight into the heart of all matters

Kaleida are Christina Wood (vocals) Cicely Goulder (keys, production). Their demos of Think and Tropea racked up over a million plays on Soundcloud and YouTube between them in early 2014. The Knife’s mixing engineer, Christoph Berg, has fine tuned the demo versions of Tropea and Aliaa for their debut with four additional tracks including a cover of Al Green’s Take Me To The River, delivered as android soul.

San Francisco hardcore stalwarts Western Addiction return with Psychedelic Munitions, a high-octane successor to Frail Bray that captures the explosive fervor and technical precision of their Bay Area roots. Recorded and mixed by Scott Evans at Sharkbite Studios and Antisleep Audio, then mastered by Brad Boatright at Audiosiege, the album delivers a massive, "live-in-the-room" sound that avoids modern polish in favor of visceral, room-shaking grit. Despite the time between releases, the band bridges the gap with a collection of songs that feel both seasoned and dangerously urgent. Psychedelic Munitions stands as a definitive masterclass in authentic California punk, honoring the legacy of the Gilman Street scene while pushing the boundaries of the genre's aggressive potential. Since forming in 2003, WA has defied easy categorization, the band crafting songs that comfortably draw from a wide swath of rock 'n' roll while retaining punk's ferocity with a hardcore feel. Fat Mike often lists WAs "Cognicide" (2005) as one of the greatest releases on the label, also calling it one of the best hardcore albums he's ever heard. Joey Cape from Lagwagon has also stated that it's his favorite album released on Fat Wreck Chords.

Nothing Left to Love is Counterparts' sixth studio album following 2017's You're Not You Anymore. Bookended by the powerful lyric “Will you love me when there’s nothing left to love?” — a desperate plea on commitment in the face of both mortality and morality — the album muses on many of the topics vocalist Brendan Murphy has in the past: life’s darkness, self-destructive tendencies and the self-flagellation they beget.

Dead Calm is a band from Liam McCay... a young, prolific Irish musician from County Donegal, known for creating music under numerous aliases, most notably Sign Crushes Motorist, Dead Calm, and Take Care, exploring genres like slowcore and indie rock with poignant, introspective, and often melancholic themes, gaining significant online traction while maintaining a low-key, hobbyist approach to his rapidly growing career. He began with the fiddle, pivoted to guitar during the pandemic, and has since released extensive work, even turning down record deals to keep his creative process personal.

Maman Küsters return to Oráculo Records with “Oniromancia Completa”, a third vinyl release carved from tension and precision. The duo—Gaël Loison and Cyril Pansal— refine their language into something sharper, harder to define: a rigid hybrid of EBM and electro where structure becomes intensity. Furious step-sequenced arpeggios cut through dense low-end pressure, while knife-edged drums lock the body into a mechanical trance. On “Dos Mundos”, Pedro Peñas (UPR) enters the system with vocals that fracture the surface, adding a human pulse to an otherwise relentless machine. Built for dark rooms and uncompromising floors, Oniromancia Completa is not just played —it is deployed. There is no ornament here—only function, force, and control. A decisive strike for both electro and EBM purists.

Ground16 proves his genre-bending talent with his latest release on A.2AUM, the new sublabel from SEVEB. The “Breaking Through” EP is like a Swiss Army Knife: Highly versatile, broken beats on the A-side and 4×4 on the flipside.

A DJ must-have, suitable for every occasion, whether opening slots, early-morning closings or the afters. Ranging from electro to deep house and broken beats, plus an uplifting techno remix by Turkish delight Pink Concrete, the record carries an overall dreamy, texture-rich sound aesthetic.

Pon is Tujiko Noriko’s sixth album for Editions Mego and a further extension of her already significant body of work as both a solo and collaborative artist. Dedicated to her cat who she adopted as an infant and passed away due an accident having been born deaf, Pon is imbued with abstraction, tenderness and a deep emotional resonance.

Noriko’s palette of electronics, romantic melodies and surprising sonic details are all fully present here, and like her last full length, 2023’s Crépuscule this is an epic work, released as a 2LP by Editions Mego alongside a Japanese CD release.

The unmistakable hue of Japan hovers throughout this emotional rich landscape. Subtle field recordings and fragile, abstract motifs drift through the album, all cloaked in a warmth and humanity that only Noriko seems able to conjure.

Pon moves effortlessly between the childlike and the obscure. There are moments of deceptive simplicity where unexpected elements suddenly surface — strange voices emerge on Boku Wa Obaka, Knife of Yonder is a standout: a startling ten-minute unfolding that begins with a warm, almost Eno-esque drift before launching into a soaring mid-section and finally landing somewhere unexpectedly blues-adjacent.

Kikoeru Pon is brimming with childlike wonder — a heartfelt ballad that dissolves into domestic field recordings, including sounds of the feline for whom both the album and track are named. A quietly devastating ending that brings the personal nature of the record into sharp focus.

There is a deep sense of the human in the way Noriko embraces technology. This is far from cold abstraction; rather, Ponfeels like a colourful photo album, documenting Noriko’s inner world and instincts with remarkable intimacy. Hovering in liminal states between pop, ambient and abstraction, this is a deeply affective and moving release that reveals new surprises with each listen.

The emotional range of Noriko’s latest offering inspires hope in a world in disarray. It is both gentle and epic and one which we feel embodies the work of an artist fully at the height of her powers.

'Trying Times' is a record about being in love whilst battling the limits of the self against a backdrop of global uncertainty. James Blake explores the tension between intimacy and isolation, the pressure to curate and perform even as everything, inside and out, feels fragile and precarious. Themes of reflection, both literally and metaphorically, run through the record’s visual presentation, as Blake holds a mirror to the contradictions of modern connection - how we see ourselves, how we’re seen by others, and what gets lost in between. It’s about the disorienting loop of joy and dread: feeling safe in love, yet knowing the bubble could burst at any moment; struggling to stay present while global anxiety and private doubt pull you in different directions. A meditation on love, identity, and fragility in an age where the world feels balanced on a knife edge

13 Track Album is James' seventh studio album and first fully independent release Album features British rapper Dave, and singer-songwriter Monica Martin Marketing plan will support long term growth, audience building and connecting with super fans Strong Content Plan including Single / Focus Track Performance Videos Alternative album versions TBC inducing deluxe, piano version and more

(incl. Gaetano Parisio Remix) The Miller joins Backspin with a potent six-track EP that explores the sharper, groovier edges of techno. 'Loops & Tonic' is a no-frills, rhythm-forward toolkit. It's percussive, hypnotic and full of old-school motion.

The A-side opens with 'It Was Just A Knife', a tribal-driven looper layered with Detroit-reminiscent synths. The track is a subtle nod to the past, wrapped in tight modern production. Peak OG hardgroove. 'Tryck' dials up the tension with broken rhythms, tripped-out cymbals and bleeps, adding a leftfield touch without losing the percussive thread. The B-side brings out the funk. 'Snake Venom' and 'Sax' strip techno down to its rolling essentials: it's all about punchy drums, melodic accents and a steady forward drive. The vinyl closes with the 'Groove Cut' version of the digital-only track 'Bastard', a remix by legendary producer Gaetano Parisio that reimagines the original into a leaner, melodic trip with clean basslines and spaced-out synth work.

The fifth release of Regal's label Backspin Records is a versatile, groovy and characterful techno record. The Miller's 'Loops & Tonic' EP is a proof that the most effective techno doesn't shout - it rolls, hits and lingers. It's the perfect record for floors that never stop moving.

Vohkinne is the alter-ego of Craig McWhinney, close associate and one of Southern Light’s foundation artists. The Way Of All Things is his first album in six years and provides a dystopian sonic journey into contemporary and modern techno that few artists can match.

Internal Collapse is an opening statement of intent; drone-infused and heavily cloaked dark ambient techno. Falling Knife is a chilling half step creation, providing a sense of murky sonics raining down from above. Unearthly Lights shifts gears as it traverses a more linear and magnetic path, while Disintegration diverts again with darker, squelching breaks.

C h r o m e s t h e s i a slows down the tempo but the morose and opaque feel of the album remains ever present, before War Paint is unleashed with a sense of urgency and high-octane intensity. Between Lives continues that intensity by unleashing its dark hypnotic breaks, before closing with the title track, perhaps for the first time on the album revealing a ray of hope amongst the dystopian energy that prevails on the album.

The Way Of All Things is more than a collection of tracks; it’s a look inside one artist’s view of the world, distilled into a singular and expansive archetype body of work.

Possibly one of the best Mental Groove releases to date. Symbols & Sacrifice is raw, beastly, and savage — a cinematic and esoteric journey from the depths of Sindaco’s universe. A masterfully crafted experience across four sides, this release blurs the lines between ritual electronics, hypnotic repetition, and uncompromising raw techno. A powerful and immersive statement, pressed on audiophile-grade vinyl for full heavy sonic impact.

Under the name of Sindaco is hidden a complex yet mysterious project where different styles and cultures live together.Obscure kraut rock, no wave, black metal and Detroit techno collide in what can be considered songs more than simple tracks. All is played by Sindaco with analog equipment without the help of computers. All is driven to create the best soundrack possible. The idea is to avoid all the typical cliches of the contemporary electronic productions and push the boundaries into a new way of tropical futurism. Be involved by the unespected waves of sounds coming from another world!

Second volume of the "Rebirth of jazz" series, VISIONS explores an even wider sound territory, which connects the 90s to today, between hip-hop, soul, electro and hybrid jazz. More than just a compilation, the album brings together generations of artists able to transform their influences into sensitive, generous and singular works. From Léna C. to Dj Mat and The Excitements, through Moar, Lou Blic & Prof Jah Pinpin or Joël Brown, each piece draws a soundscape where spirituality, groove and organic poetry intersect. A musical manifesto open to emotion and beauty, like the vision of the Rebirth On Wax label.

Samuel Kerridge, with his signature sonic arsenal, stands alone in the worlds of rhythm and noise. A singular artist, his music is to be appreciated on its own terms. Here, he returns to James Ruskin's Blueprint Records with the eleven track album, "Memoir Of Disintegration".

The British producer has been carefully turning techno inside-out for over a decade. Taking a distinctly post-punk approach to the genre, he has become an integral part of Regis' legendary imprint Downwards. Kerridge has helped to define the label's contemporary sound: broken techno and snarling punk, informed by industrial music and metal.

Samuel Kerridge has released seven EPs and five albums (including a collaboration with Dva Damas' Taylor Burch) and his recent, "Kick To Kill", has become something of a statement of intent, blossoming into a new label and event series with a focus that broadens beyond techno tracks into full-blown song writing. Aside from his solo work, he collaborates with OAKE in what he describes as the "power metal techno" duo UF, and has recently started his own guitar band, Death Disco.

Kerridge ran the Berlin-based Contort label and party series and curated the legendary Berlin Atonal festival for three years, underlining his credentials as a stalwart figure in the world of experimental, boundary-pushing techno. He's also an accomplished live performer, most recently developing a hybrid live-DJ set that dismantles hundreds of tracks into a sampler to make new music in real time. It's an inventive process that places him in the lineage of iconic and ground-breaking techno acts, while still carrying the flag for the darkest corners of underground electronic music.

Fobos Hailey is the sound of a new era. Reminiscent of the anti-authoritarian, boundless soundscapes of the early '90s, his music carries an infectious, ethereal flair of self-determination. Bulletproof oozes liquid confidence and swagger — it's the kind of sound that lights a fire in your belly. Throw it on your sound system, and you'll be dodging bullshit like Neo dodges bullets in The Matrix. Fobos Hailey elegantly showcases the breadth of his production — from heavy-hitting bangers to self-reflective, contemplative jams. Get ready to be dosed with some of the freshest sounds of 2025. This masterful LP reimagines the rave sound we love from the past and pushes it into a future-facing, modern form.

Following a string of acclaimed collaborations, including Agua Dulce with percussionist Laura Robles and Mapambazuko alongside Congolese guitarist Titi Bakorta, Peruvian artist Alejandra Cárdenas (aka Ale Hop) returns with her most personal work to date yet, A Body Like a Home. Marking her first album under her birth name, the project is a sonic memoir exploring the tangled realms of trauma, recovery, and love through autobiographical soundscapes.
A Body Like a Home is the artist at her most exposed. Comprising 13 songs and 15 poems, the album sees her set aside collaborative fusions for solo catharsis, channeling years of turbulence - intergenerational scars left by colonialism, racism, domestic violence, and alcoholism - into a work that oscillates between brutality and tenderness. Cárdenas states: “I grew up under Alberto Fujimori’s dictatorship, when a veil of hopelessness seemed to settle over everything. This is the backdrop of the album. The songs and poems trace the inevitable loop between private wounds - addiction, domestic violence, fractured intimacy - and Peru’s national scars, carved by colonialism. It’s not a straight story or a resolution. Writing and composing became a ritual of digging for meaning, into what’s buried, disguised, or renamed, until the body itself became a living archive.
” At the heart of the album is Cárdenas’s own voice - part witness, part confessor - reciting over layers of electric guitars, electronic textures, the haunting violin of Mexican musician Gibrana Cervantes, and a collage of field recordings, from rainfall, muffled whispers, broken glass, to archival protest footage from Peru. The result is a work that resonates like a diary written in sound.
The first single, "Motherland", is a searing testimony where Cárdenas voice cracks under the weight of history and personal loss. Amid a storm of distorted guitars, she traces the cyclical legacies of colonialism, from state massacres branding Indigenous bodies as “terrorists” to the spiral of addiction as an unavoidable future. The lyrics draw parallels between political and domestic violence: a mother’s drunken knife pressed to her chest, and a motherland where racism is currency. She utters: “sacrifice demands a body.” Yet, amid the wreckage, a willful grip on love and faith persists. Ultimately, A Body Like a Home is a document of transformation. Tracks like "Evangelina" and the title piece "A Body Like a Home" hold space for resilience, spirituality, and love, while "Early Road" and "Going South" thread subtle nods to Peruvian folklore, opening up bright vignettes into a sense of belonging.
The poetry chapbook accompanying A Body Like a Home (five of its pieces are also recited on the album) extends the work, building a parallel architecture. Oscillating between the documentary and the mythic, the intimate and the forensic, the profane and the oniric, these poems practice a theology of the ordinary, where everyday objects - cameras, knives, moth-eaten cotton - are charged withspiritual and historical weight. Here, the body is land, house, battlefield, collective pain, geological territory; and trauma is, in contrast, archival, cellular, ritualistic, inherited. Read alongside the music, the stories refract across two mediums: songs give them breath and poems give them bone.

Olof Dreijer (ex-The Knife) returns to Dekmantel with Iris, a new 4-track EP out this September, just in time for his North America tour. Featuring remixes by Nidia and Verraco, Iris follows his 2024 collab with Diva Cruz, remixes for Björk ft. Rosalía and Röyksopp, plus acclaimed solo EPs on Hessle Audio and AD 93.

Think breakdance-era energy, sound-humour, and body-synth mischief. Iris plays like a garden of sonic creatures—synths mimicking bodily sounds, chopped-up vocal textures, and ‘90s-style chord stabs inspired by Olof’s high school b-boy phase. It’s playful, raw, and weird in the best way.

With over two decades of shapeshifting behind machines and decks, Dreijer’s been a force in electronic music—from festival headliners across Europe to pushing the boundaries with his Oni Ayhun alias. He also co-founded Stockholm’s Bamba Club, a hub for progressive, percussive sounds.

Further recent highlights include co-producing tracks on Fever Ray’s latest album, producing Houeida Hedfi’s debut LP, contributing to projects by Planningtorock and Zhala, remixing Nine Inch Nails, Röyksopp & Robyn, and Emmanuel Jal.

An’archives is proud to present Hanabi, a compilation of material from legendary Japanese folk singer, actor and writer, Kazuki Tomokawa. Hanabi draws from Tomokawa’s three most recent albums, Vengeance Bourbon (2014), Gleaming Crayon (2016) and Going To Buy Squid (2024), all released in Japan only on the Modest Launch imprint. Pulling together highlights from these three extraordinary albums, Hanabi collects ten songs of shattering intensity, with Tomokawa performing at an ecstatic peak, a mere six decades into his musical career.

Tomokawa’s life story is one of change, risk and dedication. He appeared on the Japanese folk music circuit in the early 1970s, performing at such significant events as the legendary 1971 Folk Music Jamboree. Over the second half of the decade, he released five stunning albums that cemented his reputation as an expansive, lyrical singer-songwriter and performer whose music jack-knifed between pensive melancholy and righteous fury. His recorded output slowed in the 1980s as he became immersed in theatre, acting and painting, but his connection with the sainted Japanese label P.S.F. led to a prodigious burst of albums across the 1990s and 2000s.

Some of those albums had Tomokawa playing alongside free jazz musicians, such as his long-standing collaborator Toshiaki Ishizuka (Brain Police, Vajra, Cinorama), and late double-bass improviser Motoharu Yoshizawa. Some of that spirit can be found amidst the songs on Hanabi, leavened by a more romantic sensibility on a song like “Night Play”, where Tomokawa’s impassioned vocals and guitar swim and bob amongst a drifting string arrangement. The ferocity of “To The Dead Man” is reinforced by a guest appearance, on saxophone, by upcoming free jazz player Harutaka Mochizuki; the two spar with each other while Hiromichi Sakamoto’s cello and electronics swarm under the surface.

For those who’ve missed the three albums that Tomokawa has released across the past fifteen years – understandably so, given the relative impossibility of finding them outside of Japan – Hanabi is a welcome re-introduction to one of Japan’s most significant, poetic and quixotic folk singers and songwriters. As Michel Henritzi notes in his typically perceptive liner notes, capturing the oneiric and unique spirit of Tomokawa’s song, he is nothing less than “a poet who cries out, opening the darkness and shadows with his song, throwing handfuls of ashes from lives that have fled into the wind, to us, his fellow human beings.”

The ninth installment in the MEGABREAKZ series dives headfirst into the raw energy of early industrial. A rhythmic discharge straight from the golden era of industrial new beat and industrial dub: rusted percussion, toxic delays, and sweat-drenched basslines. Velax channels the raw spirit of Chicago’s most abrasive scene, Wax Trax!, where beats were machines and noise had a body. But here, everything is filtered through the dub haze of the UK’s early counter-scene, with fractured echoes in the style of Keith LeBlanc, crafting the ideal soundtrack for a crumbling factory. Grit, groove, and distortion as the only possible language. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl.

‘When The 2000s Clashed: Machine Music For A New Millenium’ is the story of how, 25 years ago, a new form of electronic music – known as electroclash - reignited a tired clubland and gave the indie scene and mainstream pop a shot in the arm in the process. Over this 3LP highlights set, carefully curated from the 5CD box of the same name (also released, 3rd October) the collection showcases the back-to-basics electronic beats that heralded in a new generation of exciting and innovative new artists - Hot Chip, Peaches, LCD Soundystem, and Ladytron, to name a handful. It also shows how the sound and attitude of electroclash plugged into the decade’s cutting-edge indie bands, (Franz Ferdinand, Bloc Party), and became intrinsic to the way chart pop would sound in the first decade of the 2000s (Kylie, Goldfrapp).

The collection also shows how the scene’s underground DIY ethos evolved and inspired the next generation of electronic buccaneers (Simian Mobile Disco, Justice Vs. Simian). ‘When The 2000s Clashed’ brings together a dazzling, diverse selection of artists, producers and remixers from right across the 2000s zeitgeist – from The Chemical Brothers and Daft Punk, from M.I.A. to Soulwax and many points in-between. For good measure, there’s also one side of LP3 given over to the original post punk and electronic sounds (including Kraftwerk, The Human League and Cabaret Voltaire) who’d played such a big influence on the electroclash sound. ‘

When The 2000s Clashed’ was compiled and sequenced for Demon / Edsel by Jonny Slut, founder of London’s electroclash citadel Nag Nag Nag. Established in 2002, in a small Soho venue called Ghetto, ‘Nag’ quickly became THE hottest club, first in London and then in the whole world. A glorious mess and hedonists’ hotspot, a night at ‘Nag Nag Nag’ (if you could get in!) saw the capital’s club kids, students and creatives rub up alongside names from the fashion and music worlds - Björk, Pet Shop Boys, Kate Moss, Boy George, Alexander McQueen, and Pam Hogg were among the regulars. Madonna visited, so did John Peel, Yoko Ono asked to perform and did, Throbbing Gristle’s Chris and Cosey DJ’d, so did Marc Almond, and Too Many DJ’s.

Justin Timberlake was refused entry (too many bodyguards)… even Cilla Black was spotted getting down! Jonny shares these reminisces – and many more - in the collection’s sleevenotes. Named after the 1979 Cabaret Voltaire classic, ‘Nag, Nag, Nag’ became the first place to hear the seemingly endless flow of thrilling new tunes coming from every direction during that decade of dance. Many of them are included on this collection.

The return of Roy Of The Ravers is always a moment for Emotional Response. Alongside, the infinitely heralded debut that was the 2 Late 4 Love EP in 2016 and the later Emotinium ’23 remixes, there has been the While Line Sunrise series examining the ambient, experimental electronics meets braindance techno releases that showcased lost archives from the late 90s to today, here reaching the 3rd installment with 2 EPs of more machine-driven acid funk.

Following the grand expanse of double LP White Line Sunrise II and its subsequent double pack follow up White Line Sunrise II.I (Le Roy Soliel), III (3) aims predominantly for the dance floor. The uplifting techno of opening Primavera Anjo and squelching TB303 of Plant Earth are premier Roy, hypnotic, percussive, psychedelic purity for the feet.

The flip allows head room for the mind, the deep chords and arpeggios of G-Force signal the vortex shift, before the cinematic, rolling breaks and double bass of Glass Knife sweep far and wide. Recording over 25 years ago, the changing time signatures highlight the influence of (modern) classical and even jazz on Roy, pulsing, permeating, and pushing his sound in the moment, music thought lost that is gladly now, again found.

Berlin techno talent Regent returns to Mutual Rytm with second 12" release, 'Delta Hyve' - a five-track package lined with peak-time heat.

Regent is an ever-growing voice in the global techno conversation. His tracks have found their way into high-profile sets worldwide and are renowned for their impressive blend of the past and the present. Versatile but always designed for maximum impact, delivering an impressively crafted sound made for powerful systems, this new outing offers a wealth of different moods and grooves for various parts of the night. Returning to SHDW's Mutual Rytm imprint following 2023's successful 'Coral Knife' EP, he unveils a fresh selection of cuts that emphasise his emergence with 'Delta Hyve'.

The title cut 'Delta Hyve' opens up with devastating low ends and busy synths that scurry about the mix to bring dynamism to the rooted drums, while 'Ophaal' delivers thumping kicks and coarse, textured hits scrape and scratch, while supersized hi-hats bring the intensity to all new levels. 'Hygea Core' brings the pressure with hunched-over drum patterns and a sense of urgency in the bass, while creepy pads create an unsettling atmosphere. 'New Narrative' powers on like a train with high-speed rhythms and metallic percussive surfaces, all sweeping you off your feet, before 'Ree 54' switches things up with bright synth flashes and more extraverted grooves that hark back to the machine soul of early Detroit techno.

The first digital bonus, 'Presence', is intense and tinged with the grit of a warehouse and menacing vocals, while 'Rheplica' delivers unrelenting loopy drum funk with shattered glass melodies to close the show.

This package of strictly dub mixes from Louie Vega, Tommy Musto and Soul Clap push 2fox and Laville’s 'Elevation' further into the night. Louie Vega’s dub mix of 'Elevation' gives the DJs a chugging tool to work it out complete with a chant - 'Everbody!'.

Tommy Musto’s 'Zero Hour Dub Mix' folds over Renell Shaw’s bassline into a thick throbbing bounce. With knife-like precision Musto slices up components from the original including the drums, percussions, organs and pianos, serving up the individual musical ingredients of 'Elevation' on a delicious sonic platter. The Soul Clap Dub digs even deeper into its Detroit influence, building and uplifting with chord stabs, melodic themes and glistening arpeggiation.

- Everything Is Connected Too is the second instalment of Blancmange's finest moments on vinyl.

- The companion to 2024's Everything is Connected, Everything is Connected Too delves further from recent moments like 2024's 'Again I Wait For The World' and 'Bliss' (both on vinyl for the very first time) to 'Sad Day (Original)', one of their very first outings from 1981. The collection traverses 4 decades of the band's inspired take on leftfield pop.

- Limited Crystal Clear vinyl - Record Store Day 2025 Exclusive.

Colemine Records is excited to put out their first 45 with The Charities, a sweet-soul band out of sunny California. The group's sound is a melting pot of cultures, exhibiting a mix of soul, r&b, rock, and funk. The A-side of this 45, 'Fatal Attraction,' explores just that. In some relationships, the very qualities that draw you in can also lead to your destruction. She's captivating_beautiful, intelligent, and charming_but beneath the surface, she's narcissistic and self-centered, with no regard for the pain she causes. When you're lost in the intensity of love, it's easy to overlook these darker traits. But when the time comes for her to move on, she'll strike without hesitation, delivering a blow that cuts deep. Her words, sharp as a knife, tear through your heart with cold precision. As you bleed out, she offers nothing but a final, indifferent goodbye...."It's Not Our Time," on the B, tells the story of two lovers who find themselves at a crossroads, torn apart by the struggles they face in this chapter of their lives. Perhaps in the future, they'll rekindle their love and spark a new flame_one that burns even brighter then before. It's a bittersweet goodbye, with the belief that the distance and time apart will only strengthen their bond when the moment is right.The tracks are produced by Anthony Masino and were recorded at Penrose Recordings in Riverside, CA.

2024 Repress!

Veneer made an indelible mark in its understated, expressive brilliance and cemented José González as a meticulous sonic craftsman and songwriter of singular talent. It’s hard to believe an album recorded with the most basic equipment in a cramped Gothenburg flat could end up going platinum, not only in Sweden but also the UK, selling well over 1 million copies worldwide. It’s harder still when one acknowledges that, aside from one brief trumpet solo and the slightest hint of percussion, the record features just one hushed voice and the dexterous picking of an acoustic guitar’s nylon strings. But 2003’s Veneer was such an album, charting in several countries in the world, and eventually making Top 10 in the UK, thanks in part to its delicate, evocative cover of The Knife’s “Heartbeats”.

Buckley - not be confused with the UK house veteran of the same name - is a new young producer from Leeds who brings his brand of UK garage to the increasingly vital Well Street label. Opener 'Sniper's Glint' is a naughty low-end wobbler with prickly percussion. '1003' is just as filthy thanks to the low-end oscillations and glistening, knife-like hi-hats. On the flip, 'Gloam' keeps things heavy and bass-driven with kinetic 2-step percussion and 'Snowdrift' shuts down with a fourth and final heads-down back-room garage burner that makes you want to move.

'Brat and it’s the same but there’s three more songs so it’s not' is the deluxe album of Charli xcx groundbreaking album 'BRAT' The CD & Vinyl will be out 11th October and available for pre-order from 9th August with the full tracklist available.

‘BRAT’ is shortlisted for the Mercury Prize 2024 and has already reached Gold certified status in the UK with over 100k sales since June 7th. Charli has just landed her first lead #1 single in the UK with ‘Guess’, which features on the deluxe album.

Avant-pop and electronic superstar Charli xcx has become an iconic figure in the arts, having

helped expand the landscape of popular music over the last decade by seamlessly traversing the underground and mainstream with her artistic output. Over the course of a trailblazing career, the multi-hyphenate creative has earned critical acclaim for her innovative style and

entrepreneurial spirit and seen her forward-thinking approach reshape pop culture in the process.

Her lasting impact was cemented last year when Charli was honoured with the Visionary Award at the annual Ivor Novellos in London, while she also received the Powerhouse Award at Billboard’s Women In Music ceremony in Los Angeles in March.

Leaving the putrid confines of Pigfuck, TN's dankest basements, full time rock and roll heroes emerge. Prepare for battery acid guitar solos, Johnny Paycheck death screams, blackened humor, and a little old fashioned fuckin’ in the USA--all clocked in for a full 9-5. You don’t christen yourself FILTH lightly—forget the classics, forget poetry, forget respect. Don’t come here looking for an honest job. Take your punk and shove it and let the scene heads fracture. Welcome to Full Time Filth.

Omni – meaning all-encompassing – is an apt title for celebrating over a decade of existence of Blue Hour Music. Marking the musical diversity and longevity of Blue Hour's imprint, the Omni V/A series
brings together a wide range of artists from the full electronic music spectrum, plunging into a pool of techno, trance, breaks and everything in between.

We’re glad to be back with the second installment of our new series of DJ and Artist curated 12” mini compilations: Melodies Record Club.

Ben UFO is up next for volume two, following Four Tet’s selection a few months back. Available early October in loud 12” format and digitally. Here we have two tracks which have been staples in Ben’s DJ sets at different times, but neither were originally produced with a club setting in mind, which is why they’ve never been available in this format before.

On one side, we have “Drums” from Laurie Spiegel’s 1980 experimental electronics album “The Expanding Universe”, a collection of tracks produced between 1974 and 1976 using a computer playing the actual sounds by controlling analog synthesis equipment under control of the GROOVE hybrid system developed by Max Matthews and F.R. Moore at Bell Labs. Drums is a percussive seven minute computer generated workout inspired by Laurie’s interest in African and Indian musics, and which brings to mind the most far out kosmiche music of the period to modern day techno. A connection Ben has tried to make explicit by including it in his first BBC essential mix back in 2013.

On the flip we have a track by Olof Dreijer from the Swedish band the Knife who’s work you might also be familiar with under the moniker Oni Ayhun. Back in 2009 his artist friend Adnan Yildiz curated an exhibition called “THERE IS NO AUDIENCE” in Montethermoso, dedicated to public imagination. Adnan commissioned a single piece from Olof called “Echoes from Mamori”, that played on loop during the exhibition and was subsequently released only on CD. A contemporary piece more clearly indebted to house music, Olof built the track around arpeggios generated using sounds of frogs he recorded in the Amazon and birds around Berlin, fed into a sampler.

2024 Repress

Berlin techno talent Regent is next up on Mutual Rytm as he returns with a compelling new five-track 12" titled 'Coral Knife', plus a digital bonus cut.

Regent emerged only in 2020, but has fired out quality tunes on Planet Rhythm Records, Arts Collective and Warg Records since then. His already extensive catalogue of standout releases combines tough and rapid grooves with cerebral qualities and a real depth of writing and sound design, resulting in timeless yet avant-garde material optimised for the dance floor. For that reason, he is one of the new forces emerging from the German capital and why his next EP, 'Coral Knife', sees him find a perfect home on SHDW's Mutual Rytm imprint as he returns with his first 12" on the label following his appearance on the 'Federation Of Rhythm II' compilation earlier this year.

The tight and funky 'Brickyard' opens with a high-speed groove and a taught synth riff darting about the mix to seductive effect, before 'Driftage' gets more raw with rickety percussion over bulky drums. The synths are dubby and liquid as they get smeared about the mix to bring dynamism to the groove. There is then darkness and heaviness to 'Nocta' with weighty kicks and alluring vocal sounds drifting through the late-night airwaves.
Title track 'Coral Knife' cannot fail to sweep dancers off their feet with its fizzing synths and smooth drum loops overlaid with icy hi-hats that get you into a meditative state, while 'Encoder' layers up bleeps and squeaks over a signature linear groove that is detailed with muffled vocals and distant cosmic stars.

As always with Mutual Rytm, the package rounded out with an impressive digital bonus in the form of 'Multiversa' - a driving and thunderous techno cut that closes the show emphatically.

"Explore the "Jacuzzi Days" Ep, Stemming From the Fruitful Collaboration Between The talented German Producer Ictv and the Swiss Knife DimSum. These Longtime Accomplices, previously United on the Love Ensemble Project, Came Together Last Summer In the South of France to Give Birth to This Sun Soaked Deep House workout. The A-Side Features a Solo Production From Each, Starting Off With "Morning Dew" By ictv, Which Carries a Strong Sentiment, Embedded in a Modern House Music production.Next on Is DimSum's "Rama to Ny," an Ode to the Deep House Sounds of 90s New York, Adorned With a Soulful Touch and Hip-Hop samples.

The Flip Side Features the Collaborative Tracks of This Ep, a Perfect Blend of Both of Their universes. "United Freedom Inc.," a Club-Ready Tune Drawing Influences From 90s House, Sprinkled With Subtle Modernity and a Vocal Sample Depicting Our Contemporary society. the Ep Closes With "Jacuzzi Days," an Invitation to Escape Inspired by Italian Dream House of the Golden era. Dive Into the Harmony Between Impactful Beats, Retro Influences, and Sprinkled With emotions of the "Jacuzzi Days”, Inviting You to an Emotional Yet Club Ready Sonic Journey."...

The Knife’s Olof Dreijer introduces Colombian - Swedish percussionist and DJ Diva Cruz with a new collaborative EP on Dekmantel Records. The 'Brujas' EP follows the debut of their exciting hybrid live show at Sonár Istanbul and ahead of upcoming performances at Sónar Barcelona, Dekmantel, and Øya Festival. Together, opposing patriarchy, racism, colonialism, capitalism, and immigrant challenges, they joined forces in Olof's studio, resulting in the creation of the ‘Brujas’ EP, where Diva debuts her voice. The 'Brujas' single and the entire EP, meaning "Witches" seeks to inspire us to find that powerful ancient energy within ourselves.

"I dream to empower everyone who feels outside the box with my lyrics. It is so sad to see children singing and dancing to music made by male artists whose lyrics degrade women, and on top of that, they win prestigious awards while doing so. I dream for a better world and especially Latin America, which needs to change the macho perspective and work together for a better world for everyone," says Diva Cruz.

As a percussionist Diva brings a combination of fierce live percussion together with a rhythmic blend of tunes from all over the world during her energetic DJ-sets. She has also been the lead percussionist for both Fever Ray and Robyn on their world tours.

Olof quote: I’m very excited about sharing this music with the world especially since it’s been a few years in the making. I’m very grateful to work with Diva. She has shown me a new world of music and I feel like I keep evolving and learning new things all the time, especially with our new live show when playing percussion together.

Unavailable for over 20 years, In The Beginning There Was Rhythm was Soul Jazz Records first foray into post-punk and punk-funk in the UK and captures the groundbreaking and seminal groups that crossed the divide of punk and dance music for the first time.

" In the Beginning is essential missing-link history – and body-rockin' fun" The Guardian

" In the Beginning doesn't have a single limp tune. It'll amaze new listeners and give old ones some hard-to-find tracks. Buy it." Pitchfork

"There's no denying that In the Beginning There Was Rhythm is a great gateway into this expansive, fruitful, trailblazing era." All Music

First released in 2001, this album is fully remastered, remade and presented once more in its entirety and features A Certain Ratio, Cabaret Voltaire, Throbbing Gristle, The Human League, The Pop Group, Gang of Four, The Slits, 23 Skidoo and This Heat.

This album comes as a limited-edition one-off pressing double coloured vinyl (red and blue) complete with two bespoke inner bags containing extensive sleevenotes and original photography.

As Muzik magazine noted on its initial release 'In The Beginning' is a choice selection from the fertile post-punk period when bands thought nothing of combining politics and philosophy with imported dance rhythms and edgy industrial angst.


The bands featured come (mostly) from the then bleak post-industrial North of England - Manchester, Sheffield, Leeds as well as Bristol and London, and yet all show a fascination with black American rhythms and an experimentation in sound that was completely unique at the time.

The title of the album comes from The Slits track of the same name.

This album is produced with all the original photos and full extensive sleevenotes.

For Fans Of: Laibach, Trepaneringsritualen, Ulver, Skinny Puppy, industrialized Dead Can Dance, Celtic Frost. FORGOTTEN SUNRISE is a band both legendary and current; inventors in one era, and innovators in the present day. Celebrating their 30th anniversary this year, the group has evolved and morphed over time into its current formation of Anders Melts, Kadri Sammel, and Jaan Pullerits. A huge part of the Estonian cultural landscape that comprises dark music, Forgotten Sunrise began life as a death metal band in the early 90s, part of the movement that spawned groups such as Amorphis, Beherit, Anathema, My Dying Bride, and Katatonia. As styles converged, and electronics entered the picture, the group incorporated newer techniques and a more industrial approach over time, consolidating their methods into a unique strain they call “OUTDUSTRIAL” – outsider industrial. elu is the first album in the “HALL-ELU-JAH” trilogy. Starting in the middle, the band has an expansive story arc set across 3 albums. In this first presentation of the trilogy, elu synchronizes the classic Death Metal style vocal with ethereal female voice, horror atmosphere, and pounding EBM rhythyms to create 8 memorable and visceral tracks. From high-energy dancefloor-fillers like “Orthotoxic Waste” and “Deep Emoceans” to heavy industrial grinders like “Near Bye” and “iSaid” to the emotional close of “Meating 8:08” into “Elukas”, the album provides a serene metamorphosis, guiding the listener through the many-worlds-as-one experience of Forgotten Sunrise. – Forgotten Sunrise are: Anders Melts – Vocals, bass, guitars, cymbals, djembe, thunder tube, knife and fork. Kadri Sammel – Vocals, bass, keyboards, shaman drum Jaan “Suva” Pullerits – Controlling the arrangements of chaos Ants “Ank” Lill – B(l)ack vocals on “Elukas” Recorded, mixed, and mastered at In Dreams 2020-2022 Artwork by Rene 13 Cover Picture by hellish.cav Executive Producer for Ohm Resistance – Alexandra Portaluppi

In both friendship and music, Bart Skils and Weska are an inspired combination. Their third EP on Drumcode ‘Something More’ continues their collaborative purple patch.

A transatlantic connection that’s so far birthed the excellent ‘Polarize’ and ‘Shades of Summer’ EPs, plus a remix of the Sven Väth classic ‘Spectrum’ under his Metal Master alias on Cocoon, Bart Skils and Weska are gradually developing into one of techno’s most exciting partnerships.

‘Something More’ continues their on-point production flow. The title track is destined for festival stages, mixing up sharp drumlines, celestial pads and a soaring male vocal that balances the wistful and euphoric on a knife’s edge. Meanwhile, ‘Palm Strings’ is a sleek beast, as rolling percussive loops rub shoulders with an atmospheric melody line before a powerful bass riff takes the energy up to eleven.

1/2 of seminal electronic act The Knife, Olof Dreijer will be releasing his debut album 'Loud Bloom' via dh2 this May following years of drip feeding solo music under various aliases and lending his production talents across the scene. The 14 track (double vinyl) album consists of equal parts dancefloor ready bangers (some of which have been previously released) and more still, ambient moments that highlight Olof's versatility as a producer as well as the sounds from around the globe that he takes inspiration from.


In a burst of colour and rhythm that cuts a distinctive path through modern club music, Olof Dreijer crystallises his solo work around a gleaming debut solo album, Loud Bloom, out 8 May via dh2.

Across the album, Dreijer toys with the tension between pure pleasure music and his tireless thirst for the new. You might hear the structure of a Chicago house beat or a classic drum machine hit, but at every turn these tropes are remoulded into dazzling new forms. Taking inspiration from Nigerian author Akwaeke Emezi and their ability to deliver bold, progressive themes and visionary sci-fi through the accessible lens of romantic fiction, Dreijer makes vividly unconventional dance music utterly instinctive and easy to love.

1/2 of seminal electronic act The Knife, Olof Dreijer will be releasing his debut album 'Loud Bloom' via dh2 this May following years of drip feeding solo music under various aliases and lending his production talents across the scene. The 14 track (double vinyl) album consists of equal parts dancefloor ready bangers (some of which have been previously released) and more still, ambient moments that highlight Olof's versatility as a producer as well as the sounds from around the globe that he takes inspiration from.


In a burst of colour and rhythm that cuts a distinctive path through modern club music, Olof Dreijer crystallises his solo work around a gleaming debut solo album, Loud Bloom, out 8 May via dh2.

Across the album, Dreijer toys with the tension between pure pleasure music and his tireless thirst for the new. You might hear the structure of a Chicago house beat or a classic drum machine hit, but at every turn these tropes are remoulded into dazzling new forms. Taking inspiration from Nigerian author Akwaeke Emezi and their ability to deliver bold, progressive themes and visionary sci-fi through the accessible lens of romantic fiction, Dreijer makes vividly unconventional dance music utterly instinctive and easy to love.

Swedish alt-pop icon Lykke Li, whose career spans the haunting intimacy of Youth Novels to the widescreen ambition of So Sad So Sexy, returns with her most uncompromising statement yet. Signed to Crush Management and already confirmed for Coachella 2026 and a run of South American festivals, her forthcoming album The Afterparty strips things back to raw truth and artist dogma. Built on a shoestring budget but led by high-fashion meets candid, meme-ready visuals, the world of The Afterparty channels early Tumblr and i-D magazine energy—real, raw, and distinctly Lykke Li.

Swedish alt-pop icon Lykke Li, whose career spans the haunting intimacy of Youth Novels to the widescreen ambition of So Sad So Sexy, returns with her most uncompromising statement yet. Signed to Crush Management and already confirmed for Coachella 2026 and a run of South American festivals, her forthcoming album The Afterparty strips things back to raw truth and artist dogma. Built on a shoestring budget but led by high-fashion meets candid, meme-ready visuals, the world of The Afterparty channels early Tumblr and i-D magazine energy—real, raw, and distinctly Lykke Li.

Crave Tapes strikes back with its second vinyl release. Felt Her Knife – an ode to romanticism and betrayal, portrayed by the Greek artist George Core McCall, known as Alpha Sect.
This 6-track EP opens with an invitation to take a step back in time, with a charming introductory descent, like the opening of a post-rock album. A melancholy cry, "Felt Her Knife", follows our journey into the psyche of this EP, driven by Alpha Sect’s sentimental but powerful vocals. "Drowning" merges the boundaries of what is real and what is lost in an ocean of despair. Not all those who wander are lost, and the "Fight in the Light" shows, with its powerful rhythms, that our guidance is within us. The call is stronger than we
sometimes think.
The vinyl is completed with beautiful remixes by the Swedish synthwave legend Tobias Bernstrup and Radondo from Slow Motion Records, adding an extra touch of “dancefloor-oriented” hopelessness and melancholia. Have you felt her knife yet?

Jump Source, the Montréal-based duo of Patrick Holland and Francis Latreille, also known as Priori, announce their debut full-length album Fold, due April 30 via NAFF Recordings.

Fold is their most ambitious project yet—echoing the electronic LP boom of the early 2000s while balancing peak-hour club anthems with an everything-goes pop ethos. Featuring collaborators including POiSON GiRL FRiEND, billy woods, and CFCF, the album moves fluidly between candy-glossed hooks, folktronic balladry, and unexpected rap turns, tracing the turbulence of life in music across shifting cities and timezones.

Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.



What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.



With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.

A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.

In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.

American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.

In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.

Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.

Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.


The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.


However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”


The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.


For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.

There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.

Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".

Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.


But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.

But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.



Véronique Mortaigne

Since emerging in 2020, the band has carved out a reputation as one of the most exciting rising acts in heavy music, with support from BBC Radio 1, Kerrang! Radio and acclaimed rock and metal press such as Metal Hammer, Kerrang! and Alt Press. 2024 saw the band make their Download Festival debut, undertake their first UK headline tour, and secure huge support slots with powerhouse bands such as Skindred. Following the release of their EP "Echoes", the band has enjoyed a busy schedule in 2025 - with appearances at 2000trees (main stage) and Alyx Holcombe's MANTRA showcase.

In recent months, Mallavora have been popping up everywhere, from the stages of Boomtown and Burn It Down Festivals, to the catwalk at London Fashion Week where they provided the soundtrack to Unhidden's latest clothing range. Most recently, you may have heard vocalist Jessica's incredible vocal abilities in an episode of BBC 1's The Celebrity Traitors, a star- studded game show that features household names such as Stephen Fry, Alan Carr and Claudia Winkleman. Jess was called upon by the producers of the show to produce 'banshee-like' wails, demonstrating her vocal range which stretches from beautiful high octave singing to the extremes of fry screaming. All of Mallavora's achievements have been leading to this moment: the announcement of their debut album ' What If Better Never Comes ?'. Set for release on March 27th 2026 via Church Road Records , this record showcases the band's growth as songwriters and highlights their constant hunger to push the envelope.