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Lucy Duncombe and Feronia Wennborg compose a modern symphony for virtual choir on 'Joy, Oh I Missed You', muddling sound poetry with Nuno Canavarro and ‘Systemische'-style machine-damaged surrealism. Like a mashup of Lee Gamble's 'Models', Akira Rabelais' 'Spellewauerynsherde' and Robert Ashley's timeless 'Automatic Writing’ screwed to perfection.

Duncombe and Wennborg have been chewing over ‘Joy, Oh I Missed You’ for four long years, working their process until they were "queasily intimate" with their arsenal of artificial voice tools. Tracing the history of the technology, from voice synthesisers and chatbots to AI voice analysis tools, the duo experiment relentlessly to develop a digital-age response to IRL extended vocal technique - think François Dufrêne, Yoko Ono or Phew. Less interested in replicating human sounds exactly, they instead test how various tools might cough up their own idiosyncratic tics as they stretch and stutter through attempts to mimic their "fleshware" counterparts.

Duncombe's got prior form here, most recently re-synthesising her voice on the brilliantly oily 'Sunset, She Exclaims' 45 for Modern Love, following a stunner for 12th Isle in 2021. Wennborg brings along experience from her tenure as one half of microsound duo soft tissue, whose 2022 LP 'hi leaves' (Students of Decay) was a haptic treasure. These approaches mesh remarkably well on their first collaborative full-length, with Duncombe's eerie bio-electronic incantations providing the ideal foil for Wennborg's carbonated hardware processes. It's not completely clear where the human voice ends and the zeroes and ones begin on 'Your Lips, Covering Your Teeth', as rolling cyborg syllables tumble over OS-startup womps and surprisingly svelte outcroppings of glassy, synthetic glitches. The music is surprisingly mannered, a sonic reflection of the cover, where a mouth is pixellated until only colour swatches remain. Duncombe and Wennborg trace the gradual erosion of their voices, leaning into the chaos as their various tools veer off into unique patterns of failure.

What sounds like a far-off, ghosted folk rendition (we're reminded of the Icelandic laments that Rabelais chewed up on 'Spellewauerynsherde') is offset by gnarled, bitcrushed machine faults and pneumatic lip smacks on the brilliant 'Residue', and on 'Brushed My Hair', the duo massage the voice until it sounds like a flute. Assembling stutters and barks and sighs into a celestial chorus alongside time-stretched moans, they create a levitational atmosphere on 'Smell It', freezing the energy from bizarre pitch steps to configure a zonked vocal ensemble.

'Joy, Oh I Missed You’ is an album that, like its source material, constantly morphs, testing the boundaries of its concept repeatedly without bubbling over into conceptual goo. In fact, it's remarkably euphonious, even at its most theoretically abrasive; Duncombe and Wennborg wring out uniquely angelic formations through a process of trial and error that packs a surprising, hefty emotional punch.

“We All Jack” marks the first vinyl release from the Heattraxx label — a true celebration of the Chicago house scene. The original track features a powerful Klassik Mix by K'Alexi Shelby, his second release on the label, a living legend of Chicago house who earned critical acclaim with The Ron Hardy Memo and is now back on the label stronger than ever. The record also includes three heavyweight remixes: Sirus Hood, a longtime friend of the label, talented artist and producer, founder of Mood Child, and deeply connected to the Chicago scene — having produced a documentary featuring interviews with some of the most iconic names in house music; The Checkup, label head of Heattraxx, delivers his deep and driving grooves as seen on labels like Kaoz Theory, Snatch! and House Puff; and Joe Smooth, another legendary Chicago pioneer, known for classic acid house sounds and immortalized by the anthem “Promised Land.” A tribute to house heritage, infused with the spirit of the Windy City in every beat.

Death Is Not The End release a second part collecting pre-partition film music, compiled by Gary Sullivan of Bodega Pop.

As the 1940s began, South Asian cinema entered a transformative phase. Playback singing, still a new idea in the previous decade, quickly became standard practice. Actors no longer had to sing, and singers no longer had to act, opening the door to a wave of dedicated vocal talent that redefined the sound of the industry.

Voices like Noor Jehan, Shamshad Begum, and Suraiya rose to prominence, becoming household names across the subcontinent. Behind them, composers like Naushad, Anil Biswas, and Ghulam Haider were expanding the sonic palette of film music, blending ragas with Western orchestration, folk tunes with jazz-era instrumentation. Harmoniums, sarangis, violins, accordions, and clarinets filled out increasingly complex arrangements, while ghazals and qawwalis continued to influence mood and structure.

Although the post-Partition years are often considered to be Bollywood's "Golden Age," thanks to filmmakers like Raj Kapoor, Bimal Roy, and Guru Dutt, the music started its peak just before the divide. By 1947, Naushad and others were producing some of the most emotionally rich and musically intricate work in the industry's history, compositions that would prove challenging to surpass in the decades that followed.

Yet this high point came during a time of immense upheaval. The Second World War, the Bengal famine, and the crumbling of colonial rule all loomed large. Film songs often reflected the uncertainty, sometimes mournful, sometimes romantic, sometimes defiant. And when the Partition finally came, it fractured the world that had created this music. Artists became refugees, studios were split, and careers were thrown into flux. Noor Jehan, who would go on to become Pakistan's most iconic singer, recorded many of her most beloved songs in Bombay. Khursheed, another major star, faded from public life after migrating. K.L. Saigal, a towering figure of the 1930s and '40s, died in Lahore just months before the split.

This collection spans those final years before Partition, a time of creative flowering and looming catastrophe. Like Part 1, these songs were sourced from immigrant-run music shops in New York and New Jersey. They are fragments of a vanishing world, each one a snapshot of the art, longing, and resilience that defined this extraordinary era.

The 10th release on Frenzy marks a milestone, and we're celebrating it with a true legend at the helm.

We're thrilled to welcome Marco Bailey to the label, a name deeply woven into the fabric of techno for decades. His latest work, the "Hollow Cry EP," is a six-track statement reflecting both his legacy and continued evolution as an artist.

Across four original tracks, Marco channels the tension, urgency, and emotional gravity that have defined his sound over the years. From gritty low-end power to cinematic builds and hypnotic repetition, these tracks are built with intent - to move bodies, challenge minds, and hold the floor in their grip.

The journey doesn't end there. We've brought in two key remixers to reinterpret Bailey's vision through their own lenses: The Advent, an undisputed cornerstone of the genre, delivers a groove-laced rework that's equal parts punch and finesse - a masterclass from a true pioneer; and Kaiser, one of the most distinctive voices in today's generation of techno artists, strips things down and dials up the pressure with a deep, percussive take that hits with precision.

We're proud to host Marco Bailey for this special chapter in the Frenzy story, and we invite you to dive deep into this powerful body of work.

"Hollow Cry EP" is built for the late nights, the flashing strobes, for those who know.

TRSN hits release number 36 with a statement from one of the Netherlands' most promising new names. Groef steps up for his full solo debut on the label, delivering four meticulously crafted originals that twist and stretch the parameters of hypnotic, high-impact techno. Fresh off the back of appearances on Delirium Vol. II and a breakout debut EP on Bipolar Disorder, Groef showcases his signature blend of raw textures, tightly-wound percussion, and heads-down momentum. Rounding out the EP are two heavyweight remixes from French powerhouses Bours? and Ferdinger, adding their own flavour while keeping the energy locked firmly to the floor. A bold and confident six-tracker that marks Groef as one to watch.

Seoul-based producer and DJ Yetsuby conjures immersive, layered soundscapes that glide between breakbeat, jungle, and leftfield bass. As one half of the duo Salamanda and co-founder of Computer Music Club, she has released music on labels like Wisdom Teeth, all my thoughts, Human Pitch, and Métron. And her boundary pushing sets on Seoul Community Radio, Boiler Room, and NTS Radio have brought her experimental Seoul roots to a global audience.

Her new album, 4EVA, invites listeners to wander through strange musical landscapes. Blending digital, analog, and acoustic sounds, Yetsuby explores the magnetic pull between people and music—an experience that feels both cosmic and deeply personal. Effortlessly weaving through genres such as bass, breakbeat, ambient, footwork, contemporary club, and IDM, she creates maximalist compositions that remain cohesive and refined.

The inspiration behind 4EVA is equally surreal. A childhood doodle from her sister, calling her a “brain-ful human,” sparked reflections on loneliness, togetherness, and the joy of navigating both. The album channels these themes of connection, introspection, and the transformative power of music, delivering catchy melodies and restless harmonies that invite listeners to lose themselves in its nuanced rhythms.

Out on Pink Oyster Records in LP and digital formats, 4EVA marks a bold new chapter for Yetsuby. With this release, she emerges as one of electronic music’s most original and exciting voices, defining the sound of Seoul’s underground—and beyond.

Pink Oyster is a new label from Jess Goodchild and Jack Hardwicke (Métron Records)

Debut LP by Benedikt Montiel Mathews
Frankfurt-based producer, multi-instrumentalist, and DJ Benedikt Montiel Mathews is set to release his debut LP in August 2025 in collaboration with Jazz Montez. Fusing Jazz, Funk, Electro, House, and Techno, the album reflects Benedikt’s genre-bending sound and unique musical voice — shaped by his skills on keys, trombone, guitar, bass, and vocals.
The record will be released on vinyl and accompanied by a music video and a release gig on August 31st, where Benedikt will curate and DJ the entire night. Expect rich textures, danceable grooves, and a fresh perspective from one of Frankfurt’s most exciting young talents.

Second album by influential British hard rock band Black Sabbath, originally released in 1970, containing some of the band’s most famous tracks such as War Pigs, Iron Man and the title track.

This 15-track album features the original score composed by Nicolas Godin (of AIR) for Fire of Love, the Oscar-nominated documentary directed by Sara Dosa in 2022 (available for streaming on Disney+), as well as original music inspired by the film.



Fire of Love tells the extraordinary love story of fearless French volcanologists Katia and Maurice Krafft, who died as spectacularly as they lived, capturing some of the most breathtaking footage ever recorded of their greatest passion: volcanoes.

The labels catalogue is welcoming a third full feature album by no other than the young and promising producer from the UK – Phase ‘O Matic. This body of work marks the second LP by the artist in five years therefore to say the excitement levels can be measured by the excitement meter and these levels would be scientifically speaking - through the roof. From the opening track “Welcome to the Night” to the closing “The Weapon” which is named after the title of the album, the artist has demonstrated his impeccable production skills and knowledge of the 90’s sound with the modern twist applied. Over the years of hard work, he has developed his own sound and from what can be heard here safely could be said that this release is most definitely the weapon of mass destruction which has been added to the artist’s collection of releases. Straight from the mind onto this 12” canvas for you to enjoy.

MOVE TRAX, label forged from Tokyo's event series MOVE ムーブ that since 2022 has consistently showcased in Asia pivotal figures in electronic music scene such as Alex Neri, Fantastic Man, Massimiliano Pagliara, Liquid Earth, Chloé Caillet, Bradley Zero, Secretsundaze, Giammarco Orsini, Gonno, Known Artist, proudly unveils its inaugural release: TOKYO LIPSTICK. This sonic odyssey is crafted by the label's Italian-born, Tokyo-resident founder, Al Jones, who masterfully synthesizes the sun-drenched euphoria of '90s Mediterranean sounds with the kaleidoscopic dynamism of his Japanese sojourn. From the futuristic synthscapes reminiscent of classic video games to the pulsating vocal tapestry of Shibuya Scramble Crossing, the world's most vibrant intersection, Al Jones distills disparate influences into a cohesive and compelling narrative. Supporting this seminal debut are remixes from Berlin-based UK artist Running Hot, renowned for his distinctive contributions to esteemed labels such as Love On The Rocks (LOTR), Certain Music Records, and Permanent Vacation. Complementing this, rising Japanese talent Paperkraft, hailing from Osaka, brings a fresh perspective, building significant momentum from the Land of the Rising Sun with releases on Physical Education and HOMAGE Records with his tracks remixed by Aldonna and Aiden Francis.

ZUG is without a doubt one of the leading and most compelling forces in contemporary European body and minimal electronic music. Once again joining forces with Oráculo Records, they present a retrospective that traces the arc of their already extensive and influential career. The result is a powerful compilation that blends previously unreleased material with some of their most iconic tracks to date—specially remixed and remastered for this edition. Every piece captures ZUG’s signature approach: a fusion of machine precision and raw physicality that transcends genre limitations. Tailored for fans of truly experimental, humanized electronica, primal drum patterns, and proto, body-shaking basslines, this release is a visceral listening experience from beginning to end. This is body music in its purest form. Presented in a ONE-OFF, truly limited edition of 300 copies, lacquer-cut and pressed on 180g high-quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

‘Absurd Matter’ is a labyrinthine sonic conundrum that spirals around the two poles of extreme noise and hiphop. It's Berlin-based Italian producer Shapednoise's first album in four years and confidently advances his narrative into the next chapter, building on the groundwork of his prior abstractions to emerge with a coherent genre-warped fusion of urgent rap, crushing bass weight and idiosyncratic sound design. After spending years scrupulously deconstructing club music, Nino Pedone has rebuilt it brick by brick in his image.

The album is the first release on Pedone's brand new imprint WEIGHT LOOMING, a multidisciplinary label platform that's set to explore the depths of bass music, textured noise and abrasive transcendence. It follows a slew of acclaimed releases for Numbers,
Opal Tapes, Type and his own Cosmo Rhythmatic label, and forward thinking collaborations with Kenyan beat alchemist Slikback and Hyperdub-signed Angolan producer Nazar. Pedone's most ambitious project to date, ‘Absurd Matter’ taps into kinetic energy from a hand-picked selection of collaborators, including New York rap duo Armand
Hammer, French DJ/producer Brodinski, Bruiser Brigade's ZelooperZ and vanguard Philly poet, musician, and activist Moor Mother.


On ‘Family’, Billy Woods and Elucid weave a dismal, apocalyptic landscape with their razor-sharp anecdotes. The duo’s macabre imagery is given artificial life by Pedone's industrial scrapes and rattles that curl around their worlds like thick smoke. It's still rap, just about, but lodges itself in the back room of a factory, machines running themselves to an early death. Pairing with techno-rap trailblazer Brodinski, Pedone edges further towards the sound system, spatializing rhythms in four dimensions around Detroit rapper
ZelooperZ's playful expressions. This is the Italian producer's sci-fi tinged liquefaction of radio echoes, a way to fire familiarity into the void and sublime the human voice into weightless mist. When Moor Mother arrives shouting "me me me" on the aptly-titled 'Poetry', it sounds as if all of Pedone's loose threads are being tightened into a knot. His misshapen neo-grime beats sound like a broken jet engine, but smartly cede power to Moor Mother's resonant rhymes. "You can't cancel me" she assures. ‘Absurd Matter’ is a defining personal development for Pedone that not only appraises his career so far, but diverts its logic into frighteningly new sonic territory. From great loss, the producer has determined his work's cardinal themes, and sounds more strident and far heavier than ever before.

Zurich-born, New York-based DJ Tony y Not is best known for her free-spirited sets, seamlessly weaving together techy acid, progressive, dark disco, and heart-opening indie. She brings that signature energy to her Kompakt debut with striking precision. Have You Lost Your Mind channels a touch of Swan Lake-era Todd Terry – one of NYC house’s legendary figures – delivering a razor-sharp acid line, a rock-solid groove, and one of the most flawlessly executed breakdown/drop combos in recent memory. Deep Don’t Stop follows suit, skillfully reviving the essence of ’90s New York club culture in a way that would have set Junior Vasquez’s Sound Factory ablaze. True to her mission, Tony y Not continues to spread joy and uplift others, both on and off the dance floor.

TEE MANGO’s first release on Kompakt has been a long time coming. Ever since Michael Mayer heard his sunkissed remix of The Invisible’s ‘K Town Sunset’ back in 2017, he’s been obsessed with his music. The two tracks here, ‘Moonshots’ and ‘My Mind Is Making Up Monsters’, are prime examples of TEE’s ability to create heartfelt, uplifting modern house music. There’s a sense of bacchanal liberation, a potent transcendental element that opens the mind to joyful bliss.

Jason Velo hails from Wisconsin and has been DJing for years, mostly in the rams of Chicago and Detroit house., He has recently decided to branch out into production and this latest outing comes on Noonish and is deep, groovy and minimal house for afterparties in cosy basements. Opener 'Dream Wheel' has diffuse, humid chords radiating out of a gentry bumping deep house groove, while 'Slow Burn' is just that with its horizontal vibes and gentle patter of drums over a nice rolling bassline. 'Lost Remote' is far less anxious than the situation it describes, though it does have a more eerie and cosmic feel than the others with its deft melodies and larger sense of scales. Tasteful stuff.

Originally released in 2019, ‘Heaven’ served as a benchmark for what modern house music is. The essential record from Ben Westbeech and KON’s The Vision project dominated stages around the world, receiving support from a plethora of top house artists; Gerd Janson, Horse Meat Disco, The Blessed Madonna, Groove Armada and Eli Escobar to name just a few.

Now Defected release a special 12” package featuring the most recently released remix from Groove Assassin, where he masterfully combined it with Supernova’s Jackin Mix of Kerri Chandler’s iconic ‘Hallelujah’ for a killer house cut. Also featured on the package is the original in all its glory, as well as Danny Krivit’s heralded edit and an edit from The Vision’s own KON.

Southern Thailand, Songkhla-based Baa Records takes you on a guided tour of the grooviest tracks to come out of the
Golden Sound studios! From their headquarters on Bangkok's Sukhumvit Road, GS were pioneers of Thai studiocraft and
electronization, bridging the gap between the nightclub disco showbands of the '70s and major-label pop idols of the '90s.
Collected here are 10 rare and glorious cuts introducing you to this highly influential yet little-remembered scene.
All of the music that emerged from the studio, though, shared an unmistakable signature production sheen: like the
producers of Japan's city pop scene, Golden Sound was influenced by Southern California's "West Coast sound", an
amalgam of smooth soul, jazzy R&B and tight disco sounds, with an emphasis on both high-calibre musicianship and
adventurous incorporation of electronic gadgetry.
This excellent selection of tunes from the folks at Baa Records highlights some of the most vibrant and danceable of the
label's output, with an intriguingly synthesized sonic palate.

Mr. Face, a four-song EP that's a terrific showcase for Segall's artfully ragged style. He plays everything on these recordings with the exception of one drum part on one song. - NPR Fresh Air / Segall appears decidedly more at ease, or even at peace, on the four tracks, but while they build upon acoustic foundations, the tracks quickly take different shapes filled with sublime guitar (and piccolo!) solos that are utterly transfixing."- Exclaim / The real testament to Segall's growing maturity as an artist, however, comes with closing track 'The Picture', one of the most subtle and moving songs in his entire catalog. Segall's guitar sounds like it's scoring a dazed carnival ride as he lays out a tale of learning to say goodbye. - Consequence of Sound

LTD SPLIT COLOUR TRANSLUCENT RED/BLUE VINYL W/ 3-D GLASSES** Back in 2015, Ty Segall released Mr. Face EP, the fantastic gatefold 2x7" was not only packed with four killer jams but was also quite possibly the world's first playable pair of 3D glasses. Now Famous Class Records is thrilled to release a 10th anniversary 12” vinyl edition. All copies are pressed on split color translucent red and blue-colored vinyl and come with special Mr. Face 3-D glasses to activate the supercharged 3D artwork.

Issued in October 2014, debuting at number two on the UK Album Chart and at number five on
the Billboard 200 in the US, where it also became his second chart topper on the Dance/Electronic
Albums chart, Motion is Harris’ 4th studio album and a platinum-seller in the UK.
Packed with EDM crowd-pleasers as well as an impressive range of guest vocalists, including Hurts,
Haim, Gwen Stefani, John Newman and Ellie Goulding, it has been available on vinyl only once
before, a Record Store Day exclusive in 2015.
As Entertainment Weekly noted, “The best tracks on Motion…focus more on high-caliber vocals
than on booty-blasting low end... he's taking his chances with the most unpredictable technology
of all: the human voice."

In 1983, Chateau, a San Francisco based boogie funk band, won the KRE Radio Hot Fun In The Sun Battle of the Bands in Mosswood Park, Oakland. As a prize, they received $5000 (approximately 8 hours) of studio time and a pressing run of 200 45s.Chateau included Alan Ross on lead vocals and percussion, singer Damara 'Candy' Stepney, and Kevin Dailey who sang and played saxophone, bass, and guitar.

Melvin Jones was on horn and keys, Dennis Knepper played keyboard, Frank Lemon played drums, Lemon's cousin Michael Clark played rhythm guitar, Doug Hearne played guitar and Bill Ortiz (from Santana) contributed trumpet parts.Chateau only released one 7-inch single in 1984, but to this day 'Feelings' is, arguably so, one of the most sought-after West Coast slices of funk.Jerome Derradji and Past Due Records are proud to officially reissue this incredible slice of boogie. Originally released in 1984 on Quiet Storm Records, San Francisco.