Cerca:the limit

Annie Bloch’s luvt is a quiet reorientation of the organ: away from its monumental image and ritualised spaces, towards the delicate mechanics of touch, air and friction. Across seven compositions marking her debut on OOH-sounds, the Cologne based organist and composer turns to the chest organ, a small and mobile counterpart to its larger relative, traditionally used to accompany Baroque music. On luvt, Bloch limits herself to just three stops of wooden pipes, using the instrument’s sensitive keyboard, mechanical subtle effects to crystalline sound world shaped by meditative strategies and fanciful detailing. Bloch’s approach sits at the crossroads of modern composition, new psychedelia, ambient and minimalist traditions, with occasional traces of an avant pop sensibility, while keeping the unique sound and physical character of the chest organ at its core.

The title luvt derives from the German luven, “to turn to the wind” and Luft, “air”, a gesture Bloch extends beyond the mechanics of the chest organ towards what cannot quite be grasped or put into words. Bloch follows the organ into quieter, more intimate territory, letting its monumental potential fade into the background while exploring the sensual its sound. luvt is a gentle and immersive meditation on the sound of the chest organ, revealing the instrument’s contemporary relevance while pushing its expressive possibilities into new territory.

Annie Bloch (*1994) is an organist, composer and songwriter based in Cologne, Germany. As an organist she performs solo and in alternating constellations with an improvisational and situational approach. The reality that every pipe organ as well as the space it speaks in is unique, is something she not only adapts to, but actively works with. The resulting composed improvisations explore states of change. Her pieces focus on the in-between-spaces, that are already leaning towards the next event. Searching for the ambivalences in a sound and lingering on them, her music resists singular truths. The musical material she draws from is informed by her engagement with the experimental music scene, but also by compositional styles of pop and ambient music. She has performed at Huddersfield Contemporary Music Festival, Orgelpark Amsterdam, Philharmonie Köln, Moers Festival and others. As an indie-folk artist Annie Bloch released the album „I DEPEND“ (Papercup Records) with a chamber orchestral band, that she regularly performs with.

An exciting announcement - The Return Of Cosmic Ritual by Joaquin Joe Claussell.

The Return of Cosmic Ritual

Kanita- Forgiveness is a Beautiful Thing Featuring a Cosmic Tribute to Nujabes

Cosmic Ritual, the early recording alias of Joaquin Joe Claussell, emerged during the formative years of his journey-with at the time the young and visionary Spiritual Life Music label. From those beginnings came For The Loft in You, a composition whose atmospheric language would travel far beyond its original moment-helping shape a sonic vocabulary that continues to resonate throughout the deeper realms of contemporary dance music.

Its influence can still be felt today: in the spaces between rhythm and silence, in the textures of deep house, ambient soul, spiritual jazz, and in productions created by artists who continue to explore the unseen dimensions of sound.

Now, after its long journey through the cosmos, Cosmic Ritual returns.

At the heart of this new chapter is “Kanita (Forgiveness Is a Beautiful Thing)”, a composition that journeys even further inward-toward the more atmospheric, introspective, and soundscape-oriented side of Joaquin Joe Claussell’s musical spirit.

It is music for the inner traveler.

And as another celestial passage, the release also offers a special Cosmic Tribute to Nujabes Titled "Heaven", Nujabes is a deeply admired artist whose work transcended boundaries and whose musical spirit continues to inspire generations across cultures and continents-even after his untimely departure.

This tribute is more than an acknowledgment. It is a meeting of frequencies, a quiet conversation between kindred spirits who understood that music could exist beyond genre, beyond geography, and beyond the limitations of ordinary perception.
And Finally " Myths Across Tribes " A Trance Dance Percussion number that takes the listener into the jungles of Africa.

As with all of Joaquin Joe Claussell’s work, The Return of Cosmic Ritual l invites the listener to go deeper.

For those who seek mind travel.
For those who listen between the notes.
For those drawn toward cosmic ambience, spiritual resonance, and the deeper dimensions of sound.

For ten years Spike Fuck has existed more as a messy myth than an art- ist; sporadic works forever poised on the precipice of triumph, rumours of death or insanity and so on. Spike’s mission is to distill the sacred and profane, balancing the melancholy and humour of life; “to be alive is to be traumatised.” Luckily, the devotion to his music persevered, some- what bolstered by his inconsistency and inaccessibility. This inexplicable goodwill towards his artistry is perhaps partly due to Spike’s timeless, pained and confessional lyricism, though more pointedly, the fragility of a life mired in addiction. His being or works does not question the virtue of life, but simply addresses the numb, pragmatic and far more immediate matter of surviving another day, an almost ineffable senti- ment only justified by his distinct, poetic audaciousness. Free from his arresting thoughts, evidence, the long anticipated debut album, is a bra- zen proof of life statement. Convicted by the outlandish idea of evidenc- ing a ‘you had to be there’ mentality, the record honours the presence in body, a record to be felt, never to be rationalized.

The material on evidence touches on elements of new wave, glam, soul and doo-wop, citing Pere Ubu, New York Dolls, The Temptations and Bettye Swan as key influences. Melodically it emits the energy of a down- and-out CBGBs band who cashes in by recording a lucrative Christmas album.

Spike frequently uses sonic and lyrical juxtapositions to perform comic twists of sincerity, a reflection of society's obsession with ‘getting a rise’. On “Bored to Death,” a scuzzy, laidback and soulful tune, paired with morbid ragebait lyrics that payoff as a stand up joke “when I look up at the sun it makes me so happy cause I know one day it’s gonna kill me, and it’ll kill you too!” Lead single “All By Myself” carries on in this fashion; with feelgood, family-friendly punk doo-wop production, Spike is misleading on if his joy comes from the pride in solitude, or from lone- liness and a ‘give me everything’ mentality in the act of shooting heroin. The vocal performances oscillate between being blasé, vulnerable and manic; “Sweet Release” meets power-ballad criteria solely due to Spike’s deteriorating cries into the void, the jittery delivery on “Getting Sober” embodies religious fanaticism while sounding like a pop song written by Suicide for a David Lynch film.

evidence is an album that lives outside the limits of discourse; its purpose is eponymous and self-evident. It is what it is, and is subject to interpretation. There is no point in interrogating attachments, virtue or value. The only rightful way to live is to be.

a 01. CAN'T GET IT UP 4:38
b 02. HAD YOUR WAY 4:04
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

[a] 01. CAN'T GET IT UP [4:38]
[b] 02. HAD YOUR WAY [4:04]
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

[a] 01. CAN'T GET IT UP [4:38]
[b] 02. HAD YOUR WAY [4:04]
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

[a] 01. CAN'T GET IT UP [4:38]
[b] 02. HAD YOUR WAY [4:04]
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

[a] 01. CAN'T GET IT UP [4:38]
[b] 02. HAD YOUR WAY [4:04]
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

The year was 1989, and Derrick May was at a creative peak as both a DJ and producer. Under his Rhythim Is Rhythim moniker, he released a string of landmark records on Transmat, while his residency at Detroit's The Music Institute showcased the distinctive DJ style that would soon take him onto the international stage. Around the same time, he hosted a weekly radio show on Detroit radio station WJLB, alongside influential programs by The Electrifying Mojo and The Wizard (Jeff Mills).

For one of these broadcasts, May assembled a 15-minute megamix in his studio during the week leading up to the show. He opened his radio set with this continuous mix, blending his own tracks and versions into a seamless introduction that reflected his approach to DJing at the time. It includes unreleased versions of classics such as ‘Nude Photo 88’ and ‘Strings Of Life’.

‘All of this is unreleased because I made it as I was playing it on the spot as a special Mayday Mix for my show on the radio station WJLB in 1989, edited together straight from the keyboards live to tape. There is no other recording of these tracks in this form, only here’.

The original WJLB master tapes have since been lost, and no official recording is known to survive. Fortunately, many listeners recorded the broadcasts at home. One such cassette, preserved by Richie Hawtin, eventually made it our way. It has been carefully restored and mastered, with the artist’s approval.

To highlight this remarkable document of techno history, the recording is now available as a limited-edition, one-sided 12-inch release. The mix has been cut as a continuous side, visually divided into eight sections, while the reverse features a custom engraving.

2026 Repress
Originally released in South Africa in 1983, In The Music......The Village Never Ends is one of those holy-grail African records that barely needs any introduction. Featuring the enormous 'Nomalizo', it's a record that aficionados around the world have been waiting many years for. Now, Be With Records proudly presents the hugely anticipated vinyl reissue of this bonafied classic.

This release is officially licensed and has been lovingly mastered for vinyl by Simon Francis (Claremont 56 mastering engineer) It has been pressed on audiophile 180gram vinyl for the first time and features the original, rarely seen artwork.

South African singer Letta Mbulu possesses one of the most beautiful voices the world has ever known. Her immaculate voice emits a sweetness that radiates from deep within, brimming with a joy of life and inspiring a spirit of hope and happiness. On this album, her voice soars over a strident musical force that veers between disco, soul and pop music of the most incredible kind. The gleaming guitars recall disco's finest hours while the thump of the beats anticipate 80s British soul.

News of this limited reissue has already been causing a significant stir amongst those in the know so do not sleep on this - you have been warned!

glass beach's debut album the first glass beach album is the first album from glass beach. That's a good place to start, but the album's plain & descriptive title does little to explain exactly what goes on in the hour-long adventure contained therein. the first glass beach album was initially self-released by the band in Spring 2019, but it's roots date back to as early as 2015 - songwriter & band leader j mclendon started demoing songs for the album when they first moved to Los Angeles & spent three years polishing those first demos into these songs with bassist Jonas Newhouse & drummer William White. On their Bandcamp page, the band describes their sound as the accumulation of jazz, new wave, synth music, and emo distorted through the lens of punk. The songs that make up the first glass beach album are ambitious, theatrical and chaotic. Abandoning genre limitations makes glass beach's talent for songwriting all the more apparent - mathy guitar leads, catchy drum grooves and the constant interplay of horns, synths, and even the intermittent theremin set the perfect scene for j's stunning vocal performance, which can shift from a charming falsetto to the lead of a sing-a-long in an instant.

Teal return on October 2 with Love Comes Thru, the trio's nine-track debut album. Expanding their emotionally resonant blend of downtempo trip-pop, the record reaches into street soul, dub, and experimental grooves, marking a confident new chapter for the group.

At its core, Love Comes Thru is a reflection on the quiet strength of love—not through grand gestures, but through the steady presence that carries us through uncertainty, change, and connection. Written over the course of a year of bi-coastal collaboration, the album became a testament to the bond Teal share as artists, friends, and family.

From the lush synth landscapes of "Aries Moon" to the footwork-inspired pulse of "Time Is Blind," the album explores themes of patience, vulnerability, longing, and intimacy. Standout singles "Kissing in a Dream" and the title track lean into left-field street soul, while stripped-back, 808-driven tracks like "Change Your Mind" and "Anomaly" demonstrate the power of restraint without sacrificing momentum. Building on the group's love of ambient improvisation, Love Comes Thru also features instrumental pieces with percussion by Brandon Valdivia (Mas Aya/Lido Pimienta).

The album closes with the sensual "Bubbling," bringing the journey full circle with a reminder that love ultimately comes through in its most embodied, physical form. Love Comes Thru is presented in a deluxe, limited-edition matte-finish, double-embossed jacket with a printed inner sleeve. Available on LP and digitally through Rubadub, In Sheep's Clothing, and Forced Exposure beginning October 2.

"The Whole Of The Moon" is a classic. It's a song about awe and hope and love for the people who show us the best of this often broken world, the blessed few who show the way and introduce us to things and thoughts. Keith McIvor aka JD Twitch of Optimo was one of those people, and this version of the track - electronic, euphoric, open-hearted - was made by some members of the broader Optimo community after his terminal brain cancer diagnosis in 2025. The task of making a version that could've been heard on the dance floor at Planet Peach, Mas, or the Sub Club on a Sunday night or Monday morning brought them together across oceans, an act of joy amidst so much loss. It was never intended to be released, but as it made its way to friends and others, it also felt wrong not to. Its sentiment is universal and applies to so many incredible people in music and beyond that are sadly missed. So here is the Watergirls' first and last track, presented as a limited white label with some particularly lethal mixes from Sean Johnston of Hardway Bros and A Love From Outer Space. We're giving all the profits to charity. It's meant to be played out. It's meant to make two friends hug and sing into each other's faces. It's for Keith and for everyone like him.

Originally released by Umor Rex on cassette in 2015, NK012 documents the first-ever musical meeting of Berlin-based musicians Aidan Baker (Nadja, Canada), Andrea Belfi (Italy), and Erik Skodvin (Svarte Greiner / Deaf Center, Norway). Now, more than a decade later, the album is available on vinyl for the first time, newly remastered for the format by Rafael Anton Irisarri. This marks the third release in a series of four special, limited reissues to be released in 2026 to mark the 20th anniversary of Umor Rex.

Recorded with nothing more than a stereo microphone placed in the middle of the room, NK012 captures the trio in their first session together, with the simple intention of improvising. Instrumentation builds in gradual crescendos, shifting textures between passages as looped incarnations of earlier motifs accumulate into all-consuming drones. The five pieces that make up NK012 already set the foundations for the trio’s subsequent work. Across the album, guitars, an array of effects pedals, percussion, and synthesizers merge into a raw and highly intuitive sound world. Vibrant and intense, the pieces move freely between forms and genres, driven by the immediacy of live performance and spontaneous composition.

New super-groovy one-off pressing purple double-vinyl very limited edition of Miami Sound 2 housed in gatefold sleeve, complete with two full-colour inner sleeves containing extensive text and exclusive photography from TK Records in-house photographer Larry Warmoth. Soul Jazz Records’ Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

Throughout the 1970s founder Henry Stone’s TK Records rose up to be one of the most important forces in black music, successfully pioneering the evolution in musical fashions from the early gritty funk and soul at the start of the decade to the arrival of disco in the mid-70s. This album is a rollercoaster journey across soul, funk, disco and boogie, a party-rocking dancefloor-filling collection of monster tracks that includes million-selling hits such as Betty Wright’s classic ‘Clean Up Woman’, Timmy Thomas’s ‘Why Can’t We Live Together’, T-Connection’s ‘Do What You Wanna Do’, anthemic rare groove club hits including Gwen McCrae’s massive ‘All This Love I’m Giving’ and Milton Wright’s ‘Keep It Up’, plus a host of hard-to-find gems and rarities from the likes of Raw Soul Express, Chocolate Clay, Beginning of the End, Robert Moore, Clarence Reid, Little Beaver, Paulette Reeves and many more. TK Records functioned more like a close-knit family than a typical record company. Based in the industrial Hialeah district of Miami, music man Henry Stone surrounded himself with a host of creative artists, musicians, songwriters and producers who created an immediately identifiable TK sound as well as making musical stars out of many of its artists

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

GoldFord’s soul music is rooted in truth. His raw, unvarnished songs are a balance of introspection and catharsis, grappling with heartbreak, healing, and the quiet revelations that come with growth. After spending a decade in corporate America, the St. Louis native (now based in Los Angeles) turned to music as a means of survival following a devastating personal loss. “I was more afraid of dying with regret than I was of failing,” he says of his decision to finally choose the path at 30, a choice that set his entire trajectory in motion.



That initial fearlessness has since fuelled extraordinary momentum. With over 4 million monthly listeners on Spotify, GoldFord has rapidly become one of the most compelling emerging voices in contemporary music. His breakout EP, Orange Blossoms (Oct 2024), has surpassed 100M streams, and his latest project, Space of the Heart (Sept 2025), has already generated 90.8M streams, 2.7M saves, and over 153,000 pieces of user-generated content across TikTok and Instagram. The standout track “Easy Does It” has reached 43.5M streams and continues to accelerate with more than 250K new weekly discoveries on Spotify.



GoldFord’s touring trajectory has followed the music's rapid ascent. He began in intimate rooms like Los Angeles’ Moroccan Lounge and New York’s Baby’s All Right before embarking on a debut North American tour that sold over 25,000 tickets. This momentum carried over to his first UK and European run, which required multiple venue upgrades in cities like London and Manchester. The international momentum continued with an Australian debut in March 2026, alongside key festival appearances at Austin City Limits and Noah Kahan’s Out of the Blue. He is currently headlining 1,000+ capacity venues on the Space of the Heart North American tour, including sold out shows in historic rooms like The Fonda and Webster Hall, with upcoming festival slots at Shaky Knees and Oceans Calling.

Often hailed as 'one of the defining glam rock albums', Mott the Hoople's All the Young Dudes was an influential record upon its release in 1972, and continues to impress listeners to this day.

Produced by David Bowie, the album contains a balanced selection of well-written songs by Ian Hunter and his bandmates. With Bowie on board to add his distinctive style to the songs, the band is on a roll, making this an essential record for '70s rock fans all over the globe.

All the Young Dudes is a limited edition of 1500 individually numbered copies on yellow vinyl.

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity. EverEve expanded their vision with "Stormbirds", an album that many regard as one of the defining moments of European Gothic Metal. Majestic, dramatic, and emotionally overwhelming, it elevated the band's songwriting to extraordinary heights. The interplay between crushing guitars, haunting keyboards, and deeply evocative vocal arrangements created a listening experience that remains as captivating today as it was upon its release.

Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity. EverEve expanded their vision with "Stormbirds", an album that many regard as one of the defining moments of European Gothic Metal. Majestic, dramatic, and emotionally overwhelming, it elevated the band's songwriting to extraordinary heights. The interplay between crushing guitars, haunting keyboards, and deeply evocative vocal arrangements created a listening experience that remains as captivating today as it was upon its release.

The almighty Joe of the Farr’s is a highly accomplished UK techno DJ, producer and mastering engineer. Originally associated with Bristol's electronic music scene, Joe studied TV and film sound design before building a solid reputation through hard-hitting, technically sophisticated techno releases on labels including Turbo, DSNT, Bloc, Soma and Power Vacuum. His concentrated output combines aggressive club-focused rhythms with melodic and IDM-inspired elements. Now based in Wales, performing internationally and on home turf, he also operates a professional mastering engineering operation of the highest esteem of which RIOT could simply not operate without, as many others will gladly attest too.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve finally let loose the screamer of a release, from such an integral member of RIOT HQ, that’s been patiently ‘Left Alone’ and waiting for the right time to unleash its User Experience. Joe’s totally went one step beyond and cranked out a pressure filled release of not only persistent anthemic prowess but one of such rigorous determination, all those on the dance floor MUST ‘Obey’ to its diligent beats. And with Rant & Rave Records boss Maedon serving up such an iconoclastic relentless remix, you will absolutely need to submit complicitly to all things RIOT.

The full digital release also features two bonus meticulously disciplined tracks to fulfil your obedient, subservient requirements.

WARNING: NON STOP BREAKIN’ N’ STOMPIN’ N’ BOPPIN’ TO THE RIOT BEATS WILL MANIFEST ITSELF

YARN welcomes René Audiard for its tenth release with "Makes Me Feel", a four-track EP from one of underground electronic music’s most singular voices.

Across years of dub techno, minimal and leftfield electronic experimentation, René has developed an approach to stripped-down music that feels anything but limited. Where minimalism can often become an exercise in taking things away, his work finds possibility in what remains. "Makes Me Feel" is a particularly fitting example: immersive, at times strange, but always full of feeling.

‘Lovin’ opens the EP in familiar Audiard territory: murky low-end, locomotive groove, reduced rhythmic compositions and an understated framework swimming in a pool of detail. 'Possession' lets in more light. Vocal echoes, persistent rhythms and occasional string phrases give it a cinematic quality, while a groove that seems to circle endlessly takes on an almost shamanistic pull. The EP’s 11-minute behemoth, 'Flesh', fills most of the release’s B-side while making a convincing case for patience and sophistication. There are echoes of minimal’s golden age here, but Audiard never mistakes repetition for standing still. Tiny rhythmic fragments sit alongside expansive orchestral gestures, with samples working at every scale of the arrangement. Warmth and cinematic drama run through the track, but it's the playful programming underneath that keeps it moving. 'Night' closes the record on a different note, recalling Audiard’s work with Ali Çakır in Düve. Percussive samples, accordion and Middle Eastern guitar phrases bring a more acoustic character to his reduced 808-infused broken beats, making for a playful, occasionally melancholic ending with a distinctly microtonal feel.

What makes René Audiard’s music so rewarding is how readily you recognize his hand in it. There is a particular grain to the sounds, a way of placing details within a groove, and a willingness to follow an idea wherever it leads. Across “Makes Me Feel”, those instincts give four quite different tracks a shared identity. Even when working within familiar forms, Audiard makes them sound entirely his own. It’s the holy grail of music production: a personal sound signature. And a thoughtful addition to YARN’s growing repertoire of reduced, sophisticated dancefloor music.

Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.

BONUS 7”

A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)

Coming off his first two years as a solo artist, Nick Schilder paused for a moment of contemplation. How do you keep growing as an artist, and continue making music without falling into routine? Returning to his artistic foundation—guitar on his lap, hours behind the piano—the Dutch singer-songwriter let intuition guide him, leading to his brand-new EP, Reflections.

After a summer jam-packed with festivals, Reflections provides contrast—the tracks harness a more organic sound, hitting closer to the heart, drawing from folk and pop while leaving space for the echoes of his foray into electronic music to resonate. From ‘Made For You’ to focus track ‘Die For You’ and ‘A Little More Like Me’ marking the turning point, this EP offers a sonic snapshot that bridges two seasons, a creative reset born of reflection.

Reflections is available as a limited edition on transparent vinyl. The package contains an insert with lyrics.

'Everyone' was Recorded in Tokyo, Japan over two days in late September 2025. The album musically chronicles Greg Foat's first tour of Japan. The album was commisioned by Tokyo based clothing Label 'Everyone' and is a fantastic mix of Ambient, Jazz and Electronic music genres

Each track celebrates a special memory of the tour, from the opener 'Shirahama Beach' home to the wonderful FFKT festival to the playful 'Lake Haruna Boat Ride'.

The album also features Tokyo based jazz musicians Kensuke Miyaki on Baritone Saxophone and Bass Clarinet and Yoshihiro Kaneko on Double Bass. Limited to 700 vinyl copies only with obi strip.

50th Anniversary on limited edition 180g aquamarine vinyl. Small Change is a masterpiece that contains some of Waits" best early work. Classic jazz, Tin Pan Alley, and Stephen Foster filtered through Tom"s unique worldview and lyrical genius. Heartbreaking, hilarious and always vivid, songs like "Step Right Up", "Tom Traubert"s Blues", "I Wish I Was in New Orleans", "The Piano Has Been Drinking", and "Invitation to the Blues" are all classics that have influenced generations of songwriters since. Recorded with a live orchestra and featuring jazz legend Shelly Manne on drums, Small Change is a classic and stands as one of Tom Waits" most popular recordings.

Indroducing our new vinyl collaboration, a fusion of talents by Eafhm and our Co-Founder Nils Edte. Exploring the theme of "Glossolalia" or speaking in unknown tongues, they treat music as its own language. Featuring stunning remixes by MTRL & Laima Adelaide, the vinyl is not just an auditory experience but a visual one too. The cover artwork, a joint effort by Nils Edte and painter Mariano Fernandez, adorns the limited edition of 200 records. Each cover is a unique piece of the painting, making this release a truly exclusive collector's item. Immerse yourself in this blend of art and music, where sound and visuals unite in a captivating collaboration.

Scott Monteith makes his debut on Berlin's own Bright Sounds under his DEADBEAT alias, bringing three unreleased dub tracks steeped in the deep, cavernous low end he's known for. A pioneer of the Canadian dub techno scene, DEADBEAT has spent over two decades shaping the genre's darker, more spacious corners, and this EP marks a fitting first outing for the label. Pressed in a strictly limited deep blue vinyl edition, it's a must for collectors and dub heads alike.

2026 Repress

The voraciously prolific Brit producer Four Tet returns to his untypeable-but-highly-listenable windings alias for this surprise new album on his own Text label. Remaining as a vinyl-only LP for now, and currently limited to 2000 copies, it was announced just a week or so ahead of the release. No track titles or details and a bucket load of vibes and strange ideas. Opening softly with gentle eastern instrumentation, he gradually pulls us deeper and deeper into his unique universe with every bendy frequency and strange accent. By the time we're three tracks in, we're bopping away to big bodied dubstep/garage mutations laced with chimes and all kinds of textures that only Keiran Hebden would choose to use. The B-side bares a similar varied, opened-hearted soul as we move from bumping club grooves to slo-mo ethereal shuffles that wouldn't sound out of place in a cathedral. Textbook Text. Grab this if you can, it won't hang around

This is a stunning new Japanese Modal / Spiritual Jazz album by the incredible Saxophonist Sinsuke Fujieda featuring Fumiko Takeshita on violin, recorded in Tokyo in 2023, five splendid own compositions - a beautiful listen!

Production Dessinee treatment on high-quality Japanese vinyl. Limited to 1000 copies

Real Tone Classics Vol 6 – a limited-edition vinyl release handpicked from the legendary archives of Real Tone Records.

Silk Cuts fresh drop of more ”nameless and shameless" goodness. Essential 7-inch mashups delivering floor-fillers lovingly crafted for all the party DJs, turntablists and heads. This time we’re deep into early 90s source, these are limited edition 7 inches, when they’re gone they’re gone. Highly recommended and available exclusively through prime distribution. More Silk adventures to follow……

Neuaufgelegt! Hebt das Glas mit mir und gemeinsam trinken wir "Auf die Liebe und auf die Sehnsucht"! Das sechste Studioalbum aus dem Jahr 2013 gilt zurecht schlichtweg als Klassiker und hatte erheblichen Anteil am heutigen - nennen wir es ruhig - "Phänomenen OXO86". Mit ihrem einzigartigen Stil aus Gute-Laune Ohrwürmern gepaart mit subtilem Wortwitz, Punkrock, Bläsern und Sänger Willi's knochentrocken-verschmitztem Gesang, haben die Bernauer seitdem ein Alleinstellungsmerkmal weit über die üblichen Szenegrenzen hinaus. Millionen Streams der Album-Songs mit Hits wie "Bier und Reggae", "Samba Skinheads", "Saus und Braus" bis hin zum Titelsong zeigen dies deutlich. Die Vinyl-Auflagen von "Auf die Liebe und auf die Sehnsucht" sind allesamt in kurzer Zeit vergriffen gewesen und derzeit fast nur zu horrenden Sammlerpreisen erhältlich. Doppel-Vinyl mit dem Original-Album sowie der Kinderlieder-Bonus EP "If the Kids Are United" auf Seite C und wunderschönem Etching des beliebten Anker-Logos auf Seite D! Selbstredend auf 180g Vinyl, in schwarz oder trans-yellow/gold splatter, limitiert auf insgesamt 500 Exemplare!

Neuaufgelegt! Hebt das Glas mit mir und gemeinsam trinken wir "Auf die Liebe und auf die Sehnsucht"! Das sechste Studioalbum aus dem Jahr 2013 gilt zurecht schlichtweg als Klassiker und hatte erheblichen Anteil am heutigen - nennen wir es ruhig - "Phänomenen OXO86". Mit ihrem einzigartigen Stil aus Gute-Laune Ohrwürmern gepaart mit subtilem Wortwitz, Punkrock, Bläsern und Sänger Willi's knochentrocken-verschmitztem Gesang, haben die Bernauer seitdem ein Alleinstellungsmerkmal weit über die üblichen Szenegrenzen hinaus. Millionen Streams der Album-Songs mit Hits wie "Bier und Reggae", "Samba Skinheads", "Saus und Braus" bis hin zum Titelsong zeigen dies deutlich. Die Vinyl-Auflagen von "Auf die Liebe und auf die Sehnsucht" sind allesamt in kurzer Zeit vergriffen gewesen und derzeit fast nur zu horrenden Sammlerpreisen erhältlich. Doppel-Vinyl mit dem Original-Album sowie der Kinderlieder-Bonus EP "If the Kids Are United" auf Seite C und wunderschönem Etching des beliebten Anker-Logos auf Seite D! Selbstredend auf 180g Vinyl, in schwarz oder trans-yellow/gold splatter, limitiert auf insgesamt 500 Exemplare!

*Import Exclusive*

Discover the world of Swiss artist Dominique Savioz. An anthology of self-released rarities, made between 1984 and 1997, that blend funk, synth-pop, and balearic vibes.

Limited pressing, comes with insert - carefully remastered, fully licensed, and including previously unreleased tracks.

A1, A3 Originally released on Jambo and Evasion Disques « Jambo » (EB 100 129)
A2 - Originally released on Dominique Savioz’s record «Intime»
A4 - Originally released on Dominique Savioz’s record «Nous sommes du soleil»
B1, B2, B3 - Previously unreleased

We are heartbroken to announce this very special release — a tribute to the genius of Keith McIvor aka JD Twitch (Optimo), who sadly left us on September 19, 2025. Over 20 years ago, when Skylax had no money and was just starting out, Keith was among the very first to believe in us. He delivered four unforgettable remixes of Denise Motto – I M N X T C, sharp, uncompromising cuts that defined the true spirit of underground dance music. At the time, due to limited means, only one made it to vinyl. Now, for the first time, we are proud to present the complete set: four remixes — the unreleased acid mix, blackrabbit whorehouse mix, industrial mix, and alternative mix , all cut loud and mastered with love. This release is more than a record; it is a homage to Twitch, a true pioneer and tastemaker, our generation’s John Peel. His art of digging, his fearless intelligence in music choices, his no-compromise vision — all of it stands in stark contrast to the disposable culture of today’s Instagram DJs. What we celebrate here is the real thing: edgy, sharp, timeless. A piece of history, pressed in vinyl forever. Featuring a stunning artwork by H5 (Daft Punk, Air, Logorama), specially designed to pay homage to the legend. Ultra-limited, no repress.

Inspired by the landscapes and cultural heritage of Munzur, Boran Ece returns with Moonzour, a deeply emotional and organic club record that blends melodic grooves with atmospheric textures. The release is complemented by two distinctive remixes from Hannes Bieger and Mickael Espinosa, each offering their own interpretation while preserving the emotional essence of the original. Released on Son d'Étroit as a limited 200-copy vinyl edition alongside the digital release, Moonzour marks another chapter in the label's journey, celebrating storytelling through electronic music.

- Limited vinyl edition of 200 copies

After a quarter-century hiatus, the legendary jungle artist M-Beat has resurfaced with Mekatune, his newly established label. Mekatune serves as a platform for unveiling not only his extensive back catalog but also fresh, innovative material from himself and other luminaries of the jungle music scene.

This exclusive boxset comprises five vinyl records, each elegantly housed in a black paper sleeve ensconced within a high-quality, 3mm-spined card housebag. Renowned DJ Mag designer Martin Brown has lent his artistic touch to each housebag, featuring a captivating montage of M-Beat's illustrious history spanning three decades. The reverse side of these housebags reveals an in-depth interview conducted by Dave Jenkins, delving into M-Beat's origins, his prolific career, and the enigmatic disappearance that kept fans in suspense for so long. The five housebags nestle snugly within a beautifully crafted card slipcase, forming a stunning piece of jungle and drum & bass history.

Moreover, each track in this boxset has undergone meticulous remastering by Dapz at Compound Audio and precision vinyl cutting by Beau at Ten Eight Seven Mastering, ensuring an unparalleled audio experience. These 20 handpicked gems represent the pinnacle of M-Beat's discography, each highly sought after and commanding a premium on Discogs. With a limited run of just 500 units, the majority of which have already been claimed through pre-sale, this is a rare opportunity to own a piece of music history. Once sold out, there are no plans for a repress, making it an essential addition for collectors and jungle music enthusiasts alike.

For CT022, Cosmic Tribe presents the third edition of the Artist Series featuring C.C.O. (Contra Communem Opinionem), the project of Swiss artist Florian Büchel.

The original material selected here explores a more direct and linear side of his music, combining atmospheric structures, subtle acid elements and elegant melodic progression.

On Side B, both reinterpretations move the material toward more dancefloor-oriented territory. Raakel Bloody Raakel reshapes Gravitational Disturbance into a recognizable acid-electro interpretation with increased groove and syncopation, while Romphea takes Interstellar Matter into heavier and darker contemporary electro-breaks territory with increased low-end weight and a more direct club approach.

The result creates a clear contrast across both sides: progression and musical development on Side A, followed by two alternative perspectives built around movement and dancefloor energy.

Class & Energy in a limited edition of 150 copies