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Multidisciplinary Brussels-based artist Sagat steps up with a new mini album on the Basic Moves side label, Gems Under The Horizon, featuring a remix by Slovenian ambient bird e/tape. A few years ago, Wiet Lengeler, aka Sagat was invited by Basic Moves to create a live visual show using an analogue video synth setup to accompany a 5-hour dj set by e/tape at Face B in Brussels. From that moment on, the synchronicity between the two artists was clear - and this EP is the result.
Besides his visual work, Wiet Lengeler is also known for his contemporary techno music, primarily released on Brussels’ cult label Vlek Recordings. For this mini-album, Gems Under The Horizon 003, he presents four grainy ambient and textured electro-acoustic explorations. The tracks unfold organically — like ivy — gradually revealing layers of sound and hidden textures beneath babbling streams of electronics. e/tape’s remix feels like a natural continuation of Sagat’s sonic universe, together forming a mesmerising whole that explores the fringes of ambient music. In addition to the release, a limited run of the release + 30 x 3 riso printed posters from the visual show at Face B, made by Sagat and hand numbered are made available.
Mastering and lacquer cut was done by Frederic Alstadt at Angstrom Mastering. Artwork & inserts are designed by renowned Ghent-based visual artist Dieter Durinck.

Sit back and enjoy the wonderful aural world of Sagat and e/tape.

Sincerely,

The Basic Moves team.

Another excellent find here, an unreleased dub/instrumental album compiled by Lloydie Slim at the end of the 70s, featuring exclusive dubwise & instrumental cuts to many of his rhythms from earlier in the decade. As a bonus we've added 2 more tracks to the original 10 track album tape - the vocal & dub cuts to Johnny Clarke's "I'll Never Fall in Love Again", one of Slim's personal favorites of his productions. This single was originally released in 1975 in JA on his Don One label, and again in New York a few years later on his namesake Ivanhoe the Conqueror label. This album is a great listen which reminds us of the classic Channel 1 Revolutionaries instrumentals of the mid/late 70s.

On »Empty Room,« David Granström works with slow transformations, cyclical and isometric patterns as well as just intonation as a way to create harmonic stability, allowing his long-form pieces to develop their own unique temporal and spatial qualities. A prolific figure in Stockholm’s experimental drone scene and a collaborator of Hallow Ground label mates Maria W Horn and Mats Erlandsson, the Swedish composer navigates through moments of quietude and crushing volume on these five tracks. Sonically and atmospherically, the pieces on »Empty Room« simultaneously call to mind Fennesz’s most meditative work or the physical experience of seeing Sunn O))) live, blending guitar recordings and synthesised sounds with forceful effects similar to those of Mario Díaz de Leon’s Oneirogen project while still being as moving and delicate as Alessandro Cortini’s solo work. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology.

Having been invited by the self-organising artist group The Non Existent Center for a residency to Ställbergs Gruva, a defunct iron ore mine in Sweden’s Bergslagen region, Granström took his guitar as a starting point for his compositional work that heavily relies on real-time sound synthesis. »I seldomly use the instrument as a sound source in the final compositions and rather transcribe and orchestrate the harmonic structures using sound synthesis,« he explains. »On this album however, I chose to include the actual recordings of the guitar in order to extend the spectra between non-referential synthetic sounds and embodied referential sounds.« Working with precise tunings in order to blend the timbre of the synthesis with the harmonic structures of the composition, he created composite sound objects in which the harmonic elements blend into each other.

Through the re-amplification of synthetic musical materials from the inside of the abandoned mine, his original compositions were enriched with site-specific sound qualities before he further refined them in a singular working process. Granström works with algorithmic and generative processes, using the SuperCollider programming environment and thus blurring the lines between generative and creative forms of composition. »One of the things that I like about this way of working is that it creates a distance between myself as a composer and myself as a listener of the music that is produced entirely by the system,« he says. Granström’s technologically aided eschewing of the conventions of composing doesn’t make the end result any less personal, however. By listening again and again to the newly generated output, Granström simply took on a different role in the process of finalising the music, with the technology and the sounds becoming his co-authors.

By creating systems that generate music, he gains a new perspective on (musical) time, says Granström. »There doesn't have to be a fixed length to the music at all,« he explains. »And by writing music with this in mind, my focus tends to shift towards writing cyclical structures that gradually change and transform over time.« Simple parts, in other words, that emerge as the five complex wholes that form »Empty Room,« a record that itself seems to take on different forms with every new listen.

La Matta Records proudly presents the first official 7-inch, Tutto Ben, a rare “Italo-Brazilian” mini EP by iconic singer, guitarist, and composer Jorge Ben Jor. This edition includes Ana Maria (Remastered), originally recorded at the Teatro Sistina in Rome in 1978, while Falcão and Lorella were first released in 1983 on the CGD (Maracanà) label, part of Warner Music Italy, celebrating AS Roma’s league title. This 7-inch captures a pivotal moment in Jorge’s career, singing in Italian with Banda do Zé Pretinho in Rome. Acclaimed for his radiant spirit and admired by the genius art director Franco Fontana — who invited him to Rome several times — this fully remastered gem is now available for collectors and enthusiasts on vinyl.

The Danish label arbitrary presents Framework / Zwischen Remixes – a remix by German artistJan Jelinek and one by musician & label founder Mads Emil Nielsen originally made for a digital compilation, now published on 7" vinyl (arbitrary22).

For the CRXSSINGS release, Jan Jelinek remixed Nielsen’s Framework 10, a track from the Framework Book/CD (arbitrary01) based on sequences/recordings of sine waves and noise.

Side B: a rework by Mads Emil Nielsen of Jelinek’s voice collage and electronic sounds, from Zwischen – Marcel Duchamp, would you like or expect people to spin the wheel on your kinetic object Roue de Bicyclette?

Framework 10 (Remix) written & produced by Jan Jelinek, Berlin, 2019.
Zwischen/Marcel Duchamp (Remix) written & produced by Mads Emil Nielsen, Copenhagen, 2019.
Graphic design + score (cover, back: Framework 10) by Mads Emil Nielsen.
Mastered and cut by Kassian Troyer at D&M, Berlin.

A chopped-and-screwed love letter to the sounds of rebajada – half-speed cumbia, pioneered by Sonido Dueñez in the 1990s, and born from an overheated turntable motor that didn’t make the crowd stop dancing. With Debit’s treatment, rebajada becomes an ethereal, at times intense ambient tapestry that’s also a history lesson.

Spend any amount of time pacing the streets of Monterrey, the bustling city in the north of Mexico where Delia Beatriz, aka Debit, grew up, and you’ll be sure to catch traces of cumbia echoing from Bluetooth speakers, DIY soundsystems, or car stereos. An Afro-Latin dance form and »practica cultural« originating in Colombia in the early 19th century, cumbia evolved rapidly in the early 1900s, as a localised sound played on drums and flutes quickly modernised to integrate European instrumentation like the accordion. When it reached Mexico in the 1940s, the sound shifted again, fusing with mariachi styles and integrating further vallenato folk elements. Eventually, cumbia spread across the entirety of Latin America, splintering into a spectrum of different musical styles such as chicha in Peru, and cumbia villera in Argentina. And over in Monterrey, cumbia inadvertently found its own idiosyncratic groove.

From the 1950s to the 1970s, waves of immigrants from across Mexico and Latin America headed to Monterrey to find work, making a home in Colonia Independencia. Colombian cumbia records, shipped in from Mexico City, Houston, and Miami, became the soundtrack of the neighbourhood, relaying familiar stories to a rural working class adjusting to their new industrial reality. The sound struck a chord with locals, and huge street parties hosted by ramshackle soundsystems known as sonideros unified the diverse community. So when cumbia rebajada materialised serendipitously in the 1990s, it emphasised and highlighted the memory distortions at the heart of the immigrant experience. Local record collector, selector, and sonidero Gabriel Dueñez had been playing cumbia for hours one night when disaster struck: his turntable’s motor overheated and slowed down, turning the music into a warped groan, with half-speed voices echoing over wobbly accordion drones and splashy drums. But the crowd kept dancing, and Sonido Dueñez realised he’d struck gold – cumbia rebajada was born.

Over the next few years, he dubbed a popular series of mixtapes, hawking them at the flea market on the dried-up Santa Catarina riverbed beneath El Puente del Papa, the bridge that links downtown Monterrey with Independencia. These woozy archives became the stuff of legend, poetically but subconsciously shadowing DJ Screw’s series of epochal cassettes that appeared over the border in Houston. Beatriz uses Sonido Dueñez’s first two tapes as the starting point for »Desaceleradas«, entering into a dialogue with time, culture, and geography as she recalls the sonic ecosystem that surrounded her decades ago, long before she emigrated to the USA. If 2022’s acclaimed »The Long Count« was an attempt to recover concealed pre-Columbian history in the face of colonisation, »Desaceleradas« jumps forward, figuring out how memory and shared celebration can resist a more contemporary form of cultural erasure. As AI systems scrape, blend, and decontextualise culture around us, leaving vapid slop, »Desaceleradas« proposes a slower, more careful, and ultimately more human kind of engagement. It’s an archive with a pulse.

Announcing Perseverance Flow, the latest album from acclaimed Chicago-based ensemble Natural Information Society (NIS), release date 2024-10-24. After a trilogy of double LPs by expanded manifestations of the band that began in 2018 with Mandatory Reality & continued through Since Time Is Gravity (a Pitchfork Best Jazz & Experimental Album of the Year selection & Mojo’s #1 Underground Album of 2023), NIS returns to its core formation of Lisa Alvarado on harmonium, Mikel Patrick Avery on drums, Jason Stein on bass clarinet, & composer/multi-instrumentalist Joshua Abrams on guimbri for one continuous 37 minute composition across a single LP. As the rocket boosters on spaceship earth sputter closer to burnout, lower your stylus into a soundfield that grows stronger the deeper you travel into it; a dose of the medicine many of us look to music to deliver awaits you inside.

One of the deep contemplations of this natural information (thanks Bill Callahan) is the wide range of source materials Abrams draws from over the band’s more than 15 year history: Ideas from minimalism, modal jazz & traditional musics are regularly reimagined in these compositions. The 2021 double LP descension (Out of Our Constrictions), with guest soloist Evan Parker, reflected aspects of Abrams’ love of party music, Chicago house, & John Coltrane. *But even veteran travelers with the NIS best brace themselves for the Perseverance Flow.

Speaking to the history & the inspirations behind the album, Abrams offers: “We played the piece for a year in concert before the recording. At Electrical (Audio Studios, Chicago) we went in at 11 & were done in time to pick our kids up from school.” Abrams continues: "In a reference world, I imagine Perseverance Flow like a live extended realization of a Jaylib lost instrumental as remixed by Kevin Shields. Or vice versa. I also think it has sympathies to some of the more rhythmically intricate dance musics out of Chicago & Lisbon.”

The core NIS ensemble heard on Perseverance Flow always address Abrams’ writing with the discipline of orchestra musicians & the creativity of improvisers. But this time around, instead of inviting living legend status musicians Evan or William Parker or Ari Brown as honored guests to solo freely over the composed materials, Abrams’ invited guest collaborator was the medium of the recording studio itself. Situated at the board with engineer Greg Norman, Abrams pushed post production techniques found only sporadically on earlier NIS records deep into the heart of the music, distorting & reshaping instruments to subtly &, at times, aggressively mutate timbre & texture, color & time.

Refracting the band’s signature mesmerizing chains of overlapping rhythmic patterns through the sonic funhouse of dub makes Perseverance Flow the most formally experimental NIS album to date. Now a soundworld fully unique to itself is listening to itself, consoling & humoring itself, & consoling & humoring you. A destruction myth & a creation myth of a soundworld together at once —”energetically nutritious” (October 2025 Issue 500 The Wire) supernatural information society.

“Perseverance Flow is skipping rope in slo-mo. A dance of co-operation to rally guts & humors & keep marching through pouring tears” (Abrams).

Inspired by Sam Kidel’s ›mimetic hacking‹ concept, Berlin-based composer Jasminev Guffond pipes opiated brass and woodwind motifs into a reverb chamber modelled on an Amazon fulfilment centre.

»Muzak for the Encouragement of Unproductivity« is a poetic inversion of Muzak’s traditional role in stimulating seamless productivity in the workplace. Beginning as a pre-radio music distribution network (1934, U.S.), Muzak was transmitted along electrical wires with the intention of being at once ubiquitous and indiscernible, always present yet easily ignorable. As a pseudo-science the aim was to capitalize on the potential of music to have a psychological effect on listeners, and with the goal of maximum productivity, was employed as a sonic disciplinary force in the work place.

Previously installed for Dystopia Sound Art Biennial (2024), at the Amazon Packing Station located before HAUNT-Frontviews in Berlin, Muzak for the Encouragement of Unproductivity sonically addresses utopic notions of seamless, efficient productivity, inherent to capitalist cultures, and their very real dystopic effects from labour exploitation to the impacts of over-production on the environment. This poetic inversion, further developed as an album, is not meant as a kind of melodic control but rather a reflective space in which to consider the benefits personally, globally and environmentally, of slowing down.

Reverb, essential to the Muzak aesthetic, is programmed (using convolution reverb) with the dimensions of the Berlin Amazon fulfillment centre, DBE2. Amazon fulfillment centers are global contemporary factories, promising a consumer utopia of next day delivery of almost any product imaginable. Inspired by Sam Kidel’s concept of »mimetic hacking«(1), the reverberation characteristics of the DBE2 facility perform a symbolic sonic break-in to the guarded Amazon fulfillment center, a trespass to the flow of production.

Guffond’s ambient Muzak with its drifting horn, clarinet and synth-like modulations is just too down-tempo for upbeat spending. If this is Muzak it is possibly Muzak for the end of the world, thoughtfully seeking transcendence through implied questioning after all avenues for shopping have been exhausted.

The new 012 series opens with “Waveform Studies”, a project that brings together fresh talents on the platform, merging their visions of bleep and hypnotic techno through an interplay of deep and raw frequencies. To launch the EP, label head Claudio PRC sets the tone with “Pulse”, a deep and immersive techno journey, followed by the haunting and mesmerizing soundscapes of “Vacuum” by French DJ and producer Eman. Next, Italian artist Riccardo De Polo contributes “Aseptic”, a raw, hypnotic, and minimalistic techno banger, which seamlessly leads into the spacey and dreamy textures of “Voluta” by Venezuelan-born, Berlin-based DJ and producer Isabel Soto. Finally, emerging artist Leo Cologna closes the release with “Sinus”, a digital bonus that fully embodies the spirit of this compilation. The graphic design and visual aesthetics is curated by the Berlin artist Medas, adopting the light drawing technique, reflecting the rigor and abstraction of the sound and emphasizing the essence of the musical content.

All tracks are written and produced by the respective artists. Artwork by Medas. Mastered at Incidence Studio.

Alpenglühen starts 2026 with two close friends working together in the 11th one
Atàvic is the collaborative project between Estrato Aurora and Absis, merging two distinct yet complementary approaches to electronic music. The project is rooted in texture, atmosphere, and subtle narrative, allowing sound to evolve organically and without excess.
They together bring a refined sense of space and detail, working with ambient layers, restrained rhythms, and melodic fragments that unfold slowly. Here is a 4 track release with a more tactile and material approach, focusing on timbre, resonance, and sonic density, blurring the line between abstraction and structure.
The alignment between Atàvic and the label lies in a shared appreciation for subtlety, patience, and sonic storytelling, where each release is conceived as a complete and meaningful statement.
With this reference, Atàvic contributes a work that resonates with alpenglühen’s aesthetic ethos while reinforcing the collaborative project’s own identity: music that invites close listening and reveals its nuances slowly.
If you’re looking for a peak-time, dancefloor-driven banger to keep you moving until sunrise, this is not that record.
But if you’re after a mind-blowing experience that challenges and expands your listening (and dancings), this one’s for you. Don’t overthink it.

Recollection V-VI marks the third in a planned series of 7” releases, each built from Glonti’s expanding archive of Soviet-era recordings. The artwork by Dmytro Nikolaienko (Day Night) once again reflects the utilitarian aesthetic of Soviet-era record design.

In 2018, Glonti started collecting LPs of Soviet-era Georgian composers at Tbilisi’s “Dry Bridge” flea market.The records mostly consisted of classical and chamber music released on Melodiya, the singular, state owned record label of the USSR. It was through this process that the idea of Recollection was born, as Glonti aimed to create an album that would utilize samples from his growing collection.

Mike Majkowski makes his debut on Hands in the Dark Records with Invisible, a selection of six moody and mysterious pieces produced between 2019 and 2025.

The prolific Australian double bassist and music maker has been involved in a diverse array of contemporary, improvised and experimental music since the early 2000s. This time, the Berlin-based artist is venturing deeper into downtempo, meditative and hypnotic minimal electronic realms.

While time and space are constraints, they also define our identities, creating inexplicable bonds with others flowing through shared moments and shared places. The state of being invisible obliterates these confines, allowing one to return to their pure essence. In this setting, Majkowski’s compositions display a discreet and profoundly emotional language characterised by vulnerability, darkness and confusion, while also embodying hope, soothing and resilience. A dim light, transcending love, space, memory and time.

2026 Repress
DJ Support: Seth Troxler, Marco Carola, Sasha & Digweed, Camelphat, Dennis Cruz and many more

The chances are you've already heard this track being played all over the place this summer; It's been causing some damage on the dancefloor all over, and is now it's finally available on wax for a limited time

Childhood Intelligence Six coming from German-Austrian Audio/Visual Pioneers of digital Culture "STATION ROSE“. Gary Danner & Elisa Rose have been continuously progressing their own Vision of Music and Art since the late 80s, f.e through their own Label Gunafa, Sony Music, PIAS, International Deejay Gigolo Records & collaborations with producers like Atom Heart. Their Project has been highly respected by Media & Press (Hr-fernsehen/ARD Digital, Wire, Mixmag, FAZ) since the early days. With the Child Six Mini Lp we are celebrating their Gunafa 30.0 anniversary. 

El Elektro Compilado Padrísimo Vol. 1 is a double 12” compilation curated by Spanish artist Elektro’s Grandfather, Dark Vektor featuring his personal selection from today’s scene. A fearless snapshot of the Spaniard national electro scene. Established figures stand shoulder to shoulder with new blood, generating a current where tradition and innovation collide in sparks. Every track is a charged fragment of a collective identity, soldered into one unstoppable groove. A declaration that the Spanish electro underground is alive, mutating, and absolutely padrísimo. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Flick Wilson's "School Days" album has long been one of our all-time favorite LP's through it's killer combination of super heavy Roots Radics rhythms, wild Scientist mixing, and the Flick's unique alternating falsetto style. Never widely available and only ever released in NYC, it's now deservedly reissued.

“I II III” is pure voltage. An EBM synth-punk blasting assault forged in the concrete heart of Kyiv. These tracks don’t just move: they hit, with brutalist force, fury, and cold rage. Each beat stomps forward like a clenched fist, a sound for strobe-lit riots and blacked-out warehouses. Body music as survival instinct and harsh rhythm as revolt. Raw. Unrelenting. Necessary Presented in ONE- OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid RED vinyl, All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Straight from the pantheon of techno greats, John Beltran’s Placid Angles project enters Kalarahi orbit.

Revived after a 22 year hiatus, PA has since become our main source for new Beltran material. Buy-on-sight stuff for those seeking ambient techno of a rarified calibre. There’s an inevitable pinch-me moment whenever a producer of undeniable influence jumps on the label, and safe to say, this is one of those moments.

Expect sun-kissed Balearica and sublime, acid-fuelled romance. Sometimes we levitate, bathing in the glow of JB’s beatific harmony and sanguine tenderness. The slow-burn simmer of 303, the lithe gliding of his breaks; all of it demonstrating effortlessness of execution.

Choral vocals ascend, vistas pristine and closer listens reveal even greater levels of detail. You might say it’s the gift that keeps on giving.

Celebrate the 35th anniversary of Squeeze’ sole Reprise album from 1991 with the first US pressing. With only four official members instead of five, this expanded album will include 4 non-album singles tracks. On Black Vinyl.

Introducing Luka Lickshot aka Luke Palmer aka the Wolverhampton Wolverine, prolific reggae DJ and genre warping producer of all things low end inclined.

In previous incarnations Luke has released hypnagogic house for labels such as Workshop and Third Ear, but with his debut LP release ‘Shots Fired’ he takes a sharp turn into the leftfield.

Sonically triangulating early 80s Manc post punk existentialism, 90s darkside trip hop and UK (On-U) sound system culture, the result is something like a more ruffneck Massive Attack jamming with Dome in the Black Ark.

‘Shots Fired’ was forged in an underground Peckham hideout, under strict parameters of time and space, fusing conventional instrumentation with digi know-how, improvised vocals, one take licks and dub fx. Pretty much impossible to pigeonhole the ten tracks but adjacent to / resonant with Giulio Erasmus, DJ Marcelle, Tricky, ‘Hex’….

Das legendäre Debütalbum der norwegischen Funkateers Xploding Plastix, "Amateur Girlfriends Go Proskirt Agents" (2001), erscheint als Deluxe-Doppelvinyl mit 6 zusätzlichen Bonustracks. Mit ihrer Mischung aus obskuren Jazz-Samples, coolen Beats, melodischem Feeling, einer unkonventionellen Herangehensweise und einer gehörigen Portion Humor schufen Xploding Plastix ihren ganz eigenen Stil. Eine Art älterer Amon Tobin trifft auf Scott Walker in einem verraucht-schmuddeligen Jazzclub. Dazu noch ein Faible für Film Noir, Balearic Beats, Lo-Fi, absolut abgefahrene Sounds – einfach genial! Der NME schrieb damals: "Währenddessen bieten die Norweger Xploding Plastix – zwei Verrückte mit vielen kleinen Boxen und einem schrecklichen Namen – auf dem Jam Festival eine ganz andere Art von Umbruch. Ihr Sound ist ein lauter, desorientierender Future-Jazz-Krach, eine Mischung aus DJ Foods verrückten Drums, Aphex Twins Taktarten und den stimmungsvollsten, cineastischen Passagen von The Herbaliser. Fantastisch!"

Black Vinyl

Das Album enthält Material aus allen Songwriting-Phasen der Band, einiges davon stammt aus den Zeiten von „Deprived“ und „Bringer of Drought“ sowie natürlich aus „Foreordained“, erklärt Gitarrist Samuel Dufour.

„Gateway“ wurde von dem langjährigen Mitarbeiter Xavier Berthiaume (Gevurah, Sanctvs) während derselben Session wie „Foreordained“ aufgenommen, gemischt und gemastert, wodurch die beiden Alben einen einheitlichen Klang erhalten und „Gateway“ die etablierten Erzählungen abschließen kann. „Wir betrachten es als das Ende eines Kapitels für die Band“, fährt Dufour fort. „Das heißt nicht, dass unser zukünftiges Material sich komplett von unserem bisherigen unterscheiden wird, ganz im Gegenteil, aber wir haben beschlossen, es beim nächsten Mal ein wenig anders anzugehen, indem wir neue Elemente hinzufügen, die bisher in unserer Musik noch nicht vorkamen, verschiedene Dynamiken ausprobieren und mit einer neuen Stimmung experimentieren.

Thematisch baut „Gateway“ auf Ideen auf, die erstmals auf „Foreordained“ untersucht wurden: „Der Song ‚Revival‘ aus ‚Foreordained‘ inspirierte das Thema des Albums, nämlich die Tatsache, dass Menschen seit Anbeginn der Zeit versuchen, ewig zu leben – oder ihr Leben auf unnatürliche Weise zu verlängern –, oft aus Gründen, die noch absurder sind als das Streben nach ewigem Leben selbst“, erläutert Dufour.

„Wir haben dies als Hauptthema verwendet und das Konzept weiterentwickelt, indem wir die abstoßendsten Formen der Grausamkeit untersucht haben, zu denen Menschen fähig sind – selbst wenn sie die Wissenschaft als Mittel einsetzen, um die Barbarei gegenüber ihren Feinden zu verlängern.“ Visuell setzt das Album die Zusammenarbeit von Phobocosm mit Lauri Laaksonen (Desolate Shrine, Convocation, Pestilent Hex) fort. „Auf den ersten Blick sieht man, dass es sich um ein Tor zu etwas Unheilvollem handelt, aber was dahinter liegt, bleibt dem Hörer überlassen.“ Phobocosm wird „Gateway“ mit ausgewählten Auftritten in Nordamerika unterstützen, gefolgt von Terminen in Europa im Jahr 2026.

Das französische Duo Lilly Wood & The Prick, bestehend aus Nili Hadida und Benjamin Cotto, prägt seit 2006 die Pop- und Indie-Szene. Bekannt wurden sie zunächst durch ihre Mischung aus Folk, Pop und Elektro, bevor der internationale Durchbruch mit dem Robin-Schulz-Remix von Prayer in C gelang - ein Welthit mit über 1 Milliarde Streams und Diamant-Auszeichnung. Für ihr Debütalbum Invincible Friends erhielten sie den Victoire de la Musique-Preis als "Publikumsentdeckung". Es folgten erfolgreiche Alben (The Fight, Shadows, Most Anything) und weltweite Tourneen, von europäischen Festivals bis nach Australien. Mit CHRISTINA, ihrem fünften Studioalbum, schlagen Lilly Wood & The Prick ein neues Kapitel auf. Produziert von Myd, steht das Album für klare Beats, elegante Hybrid-Sounds und eine kompromisslose Richtung. Der Titeltrack Christina ist mehr als ein Song: Er thematisiert Schönheitswahn und Selbstinszenierung im Social-Media-Zeitalter - verpackt in hypnotischen Electro-Pop. Weitere Highlights wie Swear zeigen die neue Energie des Duos: direkter, moderner und voller popkultureller Wucht.

“An extremely dynamic and creative release — Roadhouse combines acoustic and electronic music with a strong balance to invoke the complexity and confusion of a growing planet earth.” - Delroy Edwards, 2021

“‘Supernatural XS' is more bombastic (than its predacessor, ‘Aladdin Sales’). Imagine if French prog-dogs Heldon grew up on a diet of Hip Hop and high fructose corn syrup, or a mid-point between early Blues Control and Foodman's blissful mutations of Footwork. This Southern Indiana self-identified producer shows no particular allegiance to any lineage and evokes a couple they potentially aren't even privy to. Like Footwork, this music feels new and unique without outwardly attempting to break new ground, or inheriting any technological innovation. While I’m stoked on new music every single goddamn day, Roadhouse makes me particularly excited for the future of creativity, even if the odds are against it. Contemporary "Fusion" at it's best!. Very, very recommended!” - Repressed Records

Artwork tbc. Comes in a plain disco sleeve.

The first, and fully licensed reissue of this funk treasure by Desert Bone label boss and producer Nathan McKinney.
Featuring the original version and instrumental just like the original release from 1983. It was originally self released as a limited pressing and is now one of the most sought after records from this era.

Das fünfte Album der Newcastler Riffzauberer Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka PIGSx7) ist geprägt von kalkulierter Aggression und selbstzerfrleichenden Texten. Zu den verblüffenden Boni gehören verspielte Synthesizer-Arbeiten und der Auftritt eines Hip-Hop-Masters. Mit seinem Titel, der Absurdität und Ernsthaftigkeit einander gegenüberstellt, ist dies Death Hilarious. Während Land Of Sleeper von 2023 als immersives Kopfhörer-Erlebnis konzipiert war, strebten Pigs dieses Mal nach etwas direkterem, böseren. ,Wir wollten, dass es ein Schlag ins Gesicht ist", grinst Produzent und Gitarrist Sam Grant. Dieses Ziel kam zum Teil dadurch zustande, dass die Band in den letzten Jahren sooooo viele Gigs gespielt hat. Die Band fühlte sich gut geölt und reif dafür, den Zuhörern zu Hause die Art von Prügel zu verpassen, die ihr Publikum von der Bühne aus erhält. Death Hilarious bietet einige Überraschungen, vor allem der Track 'Glib Tongued', bei dem El-P von Run The Jewels als Gastmusiker mitwirkt. Als Bassist John-Michael Hedley unwissentlich das schrieb, was seine Bandkollegen als ihr Äquivalent zu einer Hip-Hop-Nummer betrachteten, setzten die Pigs ihre Ziele hoch an und sicherten sich einen fulminanten Beitrag von einem der größten Rapper der Welt. Das soll nicht heißen, dass Pigs zum Nu-Metal übergegangen sind. Death Hilarious ist eine abwechslungsreiches, straffes Album, das sich zwischen sabbathianischem Doom, grotesk minimalistischem Noise Rock und zyklischen Post-Metal-Fortissimos bewegt. Auch die Pigs treiben sich selbst weiter an. Unpassende Synthesizer-Soli tauchen dort auf, wo normalerweise Gitarren-Histrionik Platz hätte. Klaviertracks lauern im Mix und verleihen dem Klangstrudeln eine fast unterschwellige Tiefe. Stitches" ist wie Motörhead, die versuchen, Glamrock mit einem beschwipsten Keyboarder zu spielen. Und dann ist da noch das 100-Meilen-Tempo des Cosmic-Thrash-Openers ,Blockage". Verzerrte Licks fliegen aus den Verstärkern von Grant und Lead-Gitarrist Adam Ian Sykes, während die Rhythmusgruppe dahinter brutzelt. Mit all dieser Power, die durch die Adern fließt, wird Death Hilarious mit Leichtigkeit eines der besten Rockalben des Jahres 2025 sein... und das ist kein Witz!

Die Dave Clark Five verkauften mit ihrem einzigartigen Musikstil über hundert Millionen Tonträger. „All
The Hits“ ist die ultimative Sammlung ihrer größten Hits, darunter „Glad All Over“, das die Beatles in
Großbritannien von Platz 1 der Charts verdrängte, „Bits & Pieces“, „Do You Love Me“ und „Over and
Over“, das in den USA die Spitze der Charts erreichte. Diese Neuauflage erscheint als 1-CD-Digisleeve mit
Booklet und als 1-LP auf schwarzem Vinyl und enthält alle großen DC5-Hits.
Die Dave Clark Five waren die erste englische Band, die in den USA tourte und die British Invasion anführte.
In ihren ersten zwei Jahren in den USA landeten sie nicht weniger als fünfzehn Top-20-Hits in Folge – mehr
als jede andere Band außer den Beatles. Sie eroberten die Welt im Sturm und prägten die Rockmusik
maßgeblich, indem sie einen Hit nach dem anderen über die Radiosender der Welt verbreiteten.

Jason ".idk." Mills' neuestes Projekt, Even The Devil Smiles, ist eine fesselnde Reflexion über Überleben, Transformation und die Schicksalsmomente, die seinen Weg für immer verändert haben. Ausgehend von seiner eigenen Geschichte der Inhaftierung und einer entscheidenden Wendung des Schicksals, die es ihm ermöglichte, seine Freiheit vorzeitig wiederzuerlangen, lässt er diese gelebte Erfahrung in ein Werk einfließen, das sowohl eindringlich als auch unerschrocken ehrlich wirkt. Durch seine lebhafte Erzählweise behandelt er Themen wie Verrat, spirituelle Konflikte und Widerstandsfähigkeit. Jeder Track pulsiert vor der Spannung gelebter Erfahrungen und fängt die Herausforderungen, Entscheidungen und Durchbrüche ein, die seinen Weg geprägt haben. Getreu Mills' multidisziplinärer Vision ist ,Even The Devil Smiles" mehr als nur Musik. Es präsentiert sich als kulturelles Artefakt, das eine Brücke zwischen der Mixtape-Ära des Hip-Hop und zeitgenössischem Design und hoher Kunst schlägt. Das Ergebnis ist ein Projekt, das die Härte und Unmittelbarkeit des rohen, Hardcore-Rap in sich trägt und sich gleichzeitig als Sammlerstück positioniert, das über die Musik hinaus Resonanz findet und Zuhörer und Trendsetter gleichermaßen einlädt, sich sowohl mit einer zutiefst persönlichen Erzählung als auch mit einem bleibenden kulturellen Statement auseinanderzusetzen.

William Onyeabor self-released this record in 1980, before he gave up his life as the greatest Nigerian funk artist to become a devout Christian. This is a limited color edition of William Onyeabor"s ATOMIC BOMB. 10 years later, the music still EXPLODES.

Auf seinem ersten Album für Verve Records präsentierte sich der Hammond-Organist Jimmy Smith 1962
mit zwei sehr unterschiedlichen Besetzungen: Während er die ersten vier Stücke mit einer von Oliver Nelson
arrangierten groovigen Big Band aufnahm, spielte er die übrigen Stücke mit seinem regulären Trio ein, mit
dem er zuvor schon Alben für Blue Note gemacht hatte. Die von Creed Taylor produzierten Sessions waren
ein Wendepunkt für Smiths Karriere: mit dem Titel “Walk On The Wild Side”, der Platz 21 der Billboard
Hot 100 Charts erreichte, landete er seinen bis dahin größten Hit.

Mit ihrem zweiten Album "Endless" tauchen Ov Sulfur noch tiefer in die düsteren Klanglandschaften ein, die das Quintett aus Las Vegas schon auf ihrem 2023 erschienenen Debüt "The Burden Ov Faith" auszeichneten. Angetrieben von der Stimme von Frontmann Ricky Hoover verschieben Ov Sulfur die Grenzen ihrer Deathcore-Ursprünge, indem sie gleichzeitig Black Metal ('Vast Eternal') und ein überraschendes Maß an Melodie ('Wither') erforschen, ohne dabei ihren Genre-dezimierenden Ansatz zu verwässern. Nachdem sie sich bereits als beeindruckender Live-Act erwiesen haben und mit Bands wie Lorna Shore, Signs of the Swarm und Nekrogoblikon auf Tour waren, ist mit "Endless" klar: Ov Sulfur sind hier, um zu bleiben.

2026 Repress

P.E.A.R.L.'s Falling Ethics imprint reaches release number 25. For this special occasion he invites personal favourite and good friend, icon of the Spanish techno scene, Oscar Mulero. After a first appearance on the label back in 2019 it was long overdue to present their follow up split EP. Both producers are known for their forward-thinking, optimized techno pressure and on 'Above Us Today' they show nothing less. Four perfectly shaped, effective techno hitters in their own iconic style. Mulero with his twisted hypno swing and P.E.A.R.L. working his impeccable high-energy grooves make this an essential techno pack.

Permanent Vacation proudly presents a double A-side collaboration from Gold Panda and Fort Romeau: El Espíritu / El Fantasma. Bringing together two distinct artistic voices, the release blends
Gold Panda’s emotional, melodic sensitivity with Fort Romeau’s refined, hypnotic dancefloor touch. El Espíritu radiates warmth and shimmering detail, while El Fantasma drives deeper into late-night territory with atmospheric tension. — a standout meeting of two producers at the height of their craft.

Mala, returns on DEEP MEDi MUSIK with "the pidgin rap don" Magugu with a release that has been circulating as a mystery dub in different spaces around the world, for at least a year: whether Mala himself at Houghton, Skream in Ibiza, Sir Spyro shelling down club spaces or Four Tet laying bass weight on 80,000 ravers at HARD Fest in Hollywood.