Search:the son of p m

Dina Summer is the Berlin-based collaborative project of Greek-German dark-disco couple Local Suicide and Bavarian electronic producer Kalipo. The supergroup began working together in 2019 and have since been refining their combined sound. It is a unique blend of their influences, drawing from 80s italo disco, new wave, EBM and early 00s electroclash for a dark retro-futuristic synth/wave pop sound that stands out with club-ready basslines, epic melodic hooks, and lyrics ranging from dadaist abstractions to empowering, thought-provoking themes.

The trio will return with their new mini album, “Children Of The Night”, bringing together all the elements that have defined their sound so far. From the disco infused synth pop of “Burning Heart” and “Bats In Paris,” recalling their debut album Rimini (2022), to the dark club driven tracks “Fuel”, “Komodo 3000”. and the title track “Children Of The Night,” which echo the atmosphere of Hide & Seek (2024), and the dark wave influenced indie songs “Rat Race” and “On The Road”, which would have felt right at home on “Girls Gang” (2025), the release showcases the full spectrum of the band's musical identity. The nine track record takes its title from and pays homage to Bela Lugosi's iconic line in Dracula (1931): “Listen to them. Children of the night… what music they make”.

Format: Ltd transparent clear vinyl

Dina Summer ist das in Berlin ansässige Gemeinschaftsprojekt des griechisch deutschen Dark Disco Duos Local Suicide und des bayerischen Elektronikproduzenten Kalipo. Die Supergroup begann 2019 gemeinsam zu arbeiten und hat seitdem ihren gemeinsamen Sound kontinuierlich weiterentwickelt. Dieser verbindet auf einzigartige Weise ihre Einflüsse und schöpft aus Italo Disco der 1980er Jahre, New Wave, EBM und Electroclash der frühen 2000er. Das Ergebnis ist ein dunkler, retro futuristischer Synth Wave Pop Sound, der sich durch clubtaugliche Basslines, epische melodische Hooks und Texte auszeichnet, die von dadaistischen Abstraktionen bis hin zu empowernden und zum Nachdenken anregenden Themen reichen.
Das Trio kehrt nun mit seinem neuen Mini Album „Children Of The Night“ zurück, das alle Elemente vereint, die ihren Sound bisher geprägt haben. Von dem Disco geprägten Synth Pop von „Burning Heart“ und „Bats In Paris“, der an ihr Debütalbum „Rimini“ (2022) erinnert, über die düsteren, cluborientierten Tracks „Fuel“, „Komodo 3000“ und den Titelsong „Children Of The Night“, die die Atmosphäre von „Hide & Seek“ (2024) aufgreifen, bis hin zu den von Dark Wave beeinflussten Indie Songs „Rat Race“ und „On The Road“, die ebenso gut auf „Girls Gang“ (2025) hätten erscheinen können, zeigt die Veröffentlichung die gesamte Bandbreite der musikalischen Identität der Band.
Das Album mit seinen neun Tracks trägt seinen Titel in Hommage an Bela Lugosis ikonische Zeile aus dem Film Dracula (1931): „Listen to them. Children of the night… what music they make.“

The Return of The Vagabond – Revisited! On The New Way
There are figures that do not belong to any single era. They traverse .me, watch the world evolve, and
con.nue their journey guided by a singular compass: music.
Born from a concept by Use Vinyl Records, The Return of The Vagabond – Revisited! On The New Way is a
compila.on that sets the "Vagabond" back in mo.on—an iconic symbol for those who live music as a
journey without boundaries of .me, genre, or genera.on.
His return takes shape through a curated selec.on of .meless interna.onal disco, funk, and rock classics,
reinterpreted with fresh soundscapes while remaining deeply faithful to the spirit of the originals. This
musical odyssey is helmed by Daniele Baldelli & Marco Dionigi, Marco Fra=y, (Ino)2, DJ Mauri, and
Corrado Pres@, proving that great music can transcend .me, reinvent itself, and con.nue to inspire.
More than just a compila.on, The Return of The Vagabond – Revisited! On The New Way is a sonic voyage
that rediscovers legendary tracks through a modern lens. It is a project that demonstrates how authen.c
music never belongs to the past: it evolves, changes its skin, and con.nues to resonate deeply with the
present.

Modern Hypnosis is proud to introduce Babaka, the new alias of esteemed German producer Jörg Müller.

Reigniting his passion for physical, visceral sound system music, Jörg uses classic analog gear and a few self-built instruments to create a unique, potent dub sound. While reminiscent of Jörg’s earlier ambient and dub techno styles on his 2019 album Drawn From Memory and 2022’s Groundworks LP on The Moth Club, his new direction has evolved those techniques and primed them for sound system use. His debut release as Babaka showcases four masterful tracks that differ widely from one another while remaining within his new realm.

The opening track, "Exterminating Angel," is a pulsating, supernatural dub experiment featuring a deeply infectious bassline, ghostly key stabs, tight percussive delays and an oddly dramatic vocal sample creating a profound sonic climax before tapering off, allowing you to escape its vacuum and recalibrate. The most skank'n track of the EP, "A Bug in the dark" with its murky half-time swagger feel, bouncy hats, dub saturation and mega sub-driven riff has become an all-time favourite at Modern Hypnosis HQ.

Featuring precise production with decorative atmospherics and swung drums, "Woodsman Blues" has an almost Boxcutter feel to its intro before plunging off the deep end, hitting the dub floorboards, and revealing its true self as a reincarnated, stoned dubstep track. Closing out the release is "Hysteria," a perfectly executed, dark, chugging techno steppa that remains a popular track for many early-access DJs and selectors around the globe.

In the words of Jörg Müller himself:

After my first Album "Heavy Heart”, I tried to push my music more into abstract territory, especially sound-wise, ignoring mixing and mastering rules... this culminated in the eerie, roomy, off-atmosphere on "ground works" on The Moth Club.

After that, my focus shifted further towards freeform electro-acoustic ambient music. I built a couple of instruments myself and released two albums on Shimmering Mood as Kaleidophon. This was during the pandemic as nightlife came to a stop.

In 2023 and 2024, I started to go to dances again. I saw The Bug on his Pressure System, Al Wootton at Meaksuma Festival, Channel One and Iration Steppas on Young Veteran Hifi Soundsystem. Especially impressive were Mark Ernestus, Mark Ainley and Aba Shanti on the infamous sound system at Open Ground in Wuppertal.

This reignited my passion for dub/sound system music; I wanted to make tracks with the physical, visceral quality of sound systems.

Emerging in 2023, Die Anstalt are a Berlin-based post-punk and minimal synth trio who quickly established themselves with a blistering fusion of early EBM, synth-punk, and classic post-punk. Their sound channels the grit and tension of 1980s industrial sub cultures while feeling unmistakably contemporary. Recently signed to City Slang worldwide, the band are reissuing their independently released debut album through the label. They have also announced a UK and Ireland tour supporting A Place to Bury Strangers, alongside a hometown headline show at Berlin's legendary SO36 in November 2026.

Die Anstalt sound like no one else, even if everyone hears something different. Depending on who you ask, you'll catch traces of Malaria!, Boy Harsher, DAF, early EBM, synth-punk, or X-Mal Deutschland. Then there's the surf guitar, a detail that shouldn't work but somehow holds the whole thing together. The result is theatrical, confrontational, hypnotic, and relentlessly physical. They write slogans that stick. They're appropriately furious. Live, they're less a concert than a controlled explosion.

Their songs give voice to generational exhaustion, the dystopian absurdities of the present, warmongers, the manosphere, and the constant sense that the world is coming apart at the seams. Somehow, they also sound unmistakably like Berlin. That doesn't happen often, maybe once a decade, if we're lucky.

Most of all, Die Anstalt are proof that beneath the noise, the algorithms, and the endless churn of industry discourse, something vital still burns: rage, conviction, and hope in equal measure. At their core, they are a punk band. No posturing. No compromise. No messing around. They don't ask for permission. They burn it all down.

Die Anstalt, 2023 in Berlin gegründet, bewegen sich zwischen Post-Punk, Minimal Synth und frühem EBM. Innerhalb kürzester Zeit hat sich das Trio mit einer kompromisslosen Mischung aus Synth-Punk, klassischem Post-Punk und der rauen Energie der industriellen Subkulturen der Achtziger einen Namen gemacht – und klingt dabei nie nostalgisch, sondern entschieden gegenwärtig. Kürzlich unterschrieb die Band weltweit bei City Slang, wo nun auch ihr zunächst in Eigenregie veröffentlichtes Debütalbum neu erscheint. Im Herbst 2026 begleiten sie A Place to Bury Strangers auf deren UK- und Irland-Tour, bevor sie im November mit einer Headline-Show im legendären SO36 nach Berlin zurückkehren.Die Anstalt klingen vor allem nach sich selbst – auch wenn jede*r etwas anderes hört. Die einen denken an Malaria!, andere an Boy Harsher, DAF, frühen EBM, Synth-Punk oder X-Mal Deutschland. Und dann ist da diese Surf-Gitarre, die eigentlich nicht funktionieren dürfte und doch alles zusammenhält. Die Anstalt sind theatralisch, konfrontativ und hypnotisch. Sie schreiben Parolen, die hängen bleiben. Ihre Wut ist berechtigt. Live gleichen sie einem kontrollierten Ausbruch.Ihre Songs finden Worte für die Erschöpfung einer Generation, für die dystopischen Exzesse der Gegenwart, für Kriegstreiber, die Manosphere und die Absurditäten unserer Zeit. Irgendwie klingen sie dabei unverkennbar nach Berlin. Das passiert nicht oft – vielleicht einmal pro Jahrzehnt, wenn wir Glück haben.Vor allem aber beweisen Die Anstalt, dass unter dem Lärm, jenseits von Algorithmen, Trends und dem endlosen Gerede der Musikindustrie noch immer etwas brennt: Wut, Haltung und Hoffnung zugleich. Im Kern sind Die Anstalt eine Punkband. Kein Posieren. Keine Kompromisse. Kein Bullshit. Sie bitten nicht um Erlaubnis. Sie reißen alles nieder.

the iconic project returns late September with its milestone 10th studio album, ‘I Wrote You A Letter’.

Twenty-five years after his debut, M83 (Anthony Gonzalez) stands as a genuinely era-defining electronic act, renowned for pushing indie-electronic into the mainstream while maintaining absolute critical credibility. With a massive catalog compounding billions of streams—anchored by the timeless “MIDNIGHT CITY” (1.5B streams)—the iconic project returns late September with its milestone 10th studio album, I WROTE YOU A LETTER’.
Recorded between Los Angeles and Paris alongside BENOIT DE VILLENEUVE, this new record follows the highly acclaimed ‘FANTASY’ (2023) and features striking artwork by celebrated Australian photographer BILL HENSON. This release marks a historic chapter, encapsulating a quarter-century of sonic evolution.
Commercially, M83’s power lies in an unmatched ability to transcend generations. Synonymous with cinematic emotion, nostalgia, and immense scale, M83’s sound is virtually a genre of its own, heavily sought after for film, TV, and sync. Live, the act holds top-tier global status, proven by headlining slots at major festivals like Coachella, Glastonbury, and Primavera.
‘I WROTE YOU A LETTER’ delivers exactly what M83 does best: big emotional scale, breathtaking cinematic atmospheres, and sharp hooks, all pushed into a fresh, modern palette.

Fünfundzwanzig Jahre nach seinem Debüt gilt M83 (Anthony Gonzalez) als ein wahrhaft epochaler Elektro-Künstler, der dafür bekannt ist, Indie-Elektro in den Mainstream zu bringen. Mit einem riesigen Repertoire, das Milliarden von Streams umfasst – angeführt von dem zeitlosen „MIDNIGHT CITY“ (1,5 Milliarden Streams) – kehrt das ikonische Projekt Ende September mit seinem wegweisenden zehnten Studioalbum „I WROTE YOU A LETTER“ zurück.

Das neue Album, das gemeinsam mit BENOIT DE VILLENEUVE in Los Angeles und Paris aufgenommen wurde, knüpft an das hochgelobte „FANTASY“ (2023) an und besticht durch ein eindrucksvolles Cover des gefeierten australischen Fotografen BILL HENSON.
Diese Veröffentlichung markiert ein historisches Kapitel und fasst ein Vierteljahrhundert klanglicher Entwicklung zusammen.
Kommerziell liegt die Stärke von M83 in der unübertroffenen Fähigkeit, Generationen zu verbinden.
Als Synonym für filmische Emotionen, Nostalgie und immense Größe ist der Sound von M83 praktisch ein eigenes Genre, das für Film, Fernsehen und Synchronisation sehr gefragt ist.
Live genießt die Band weltweit Spitzenstatus, was durch Headliner-Auftritte bei großen Festivals wie Coachella, Glastonbury und Primavera unter Beweis gestellt wird.

„I WROTE YOU A LETTER“ liefert genau das, was M83 am besten kann: große emotionale Bandbreite, atemberaubende filmische Atmosphären und eingängige Hooks, alles verpackt in einer
frischen, modernen Klangpalette.

Die dunkle Seite des Italo Disco geht in die nächste Runde! „The Dark Side Of Italo Disco – Vol. 4“ präsentiert erneut 8 ausgewählte Italo-Disco-Songs der 80er Jahre, die mit ihren geheimnisvollen Sounds, treibenden Beats und einer ganz besonderen Atmosphäre einen düsteren Charme versprühen.

Zwischen melancholischen Synthesizer-Melodien, hypnotischen Rhythmen und futuristischen Klängen zeigt diese LP die geheimnisvolle und faszinierende Seite des legendären 80er-Jahre-Sounds.

Ein absolutes Highlight für Italo-Disco-Fans und alle, die ihre Plattensammlung um eine außergewöhnliche Auswahl voller Atmosphäre und Kultfaktor erweitern möchten.

Since its original release, Aging has taken on an interesting wider significance. OCA’s music came to the attention of Kelela, who featured the duo in her Aquaphoria mix before later working with Yo van Lenz and Florian T M Zeisig in their Berlin studio. Those sessions would go on to play an important role in shaping the sound of her acclaimed 2023 album Raven, on which both artists are credited.



2019 Press Release:

Berlin based duo OCA present Aging, their sophomore album and first for Métron Records. Following up last year's Preset Music (recently featured in Kelela's Aquaphoria mix) Aging is an album that focuses on memory, experience and the passing of time.

A collaboration between producers Yo van Lenz and Florian T M Zeisig, OCA formed after the pair met and became friends while studying in Berlin. Originally from small towns in Bavaria, the duo now live and work in the German capital.

Through a series of 10 vignettes, Aging transports the listener on a trip across a series of life events that retain a special personal importance to both of the artists. These emotional touchstones range from the profound to the prosaic - the discovery of something new, the relief from annoyance or the familiarity found in an old companion - and have been fully explored with playful sonic introspection.

Whilst the concept retains a certain ambiguity, it is the sound palette, created solely on an Alesis QS6 synthesiser - that brings these experiences to life. OCA blend and weave classic dance music motifs with shimmering synths, Japanese wet ambient, and even anthemic 80s rock to create a soundscape rich with texture and sensation.

The bass notes and tentative lead of ‘Baby’s First Blade of Grass’ reference the memory of first consciously or subconsciously experiencing something new, whilst the decaying ripples of ‘Stretching in Water’ paired with sounds of flowing streams conjure up images of tranquil pools. Their most developed work to date, Aging showcases OCA as rising stars of progressive pop and modern ambient.

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.

For over 30 years the Midwest machine menace that is Paul Birken has been developing and exploring his love for the limitless potential that exists when you chain together synths, sequencers, samplers and beat makers, he is a true audio explorer communicating his own unique sonic exploration through his machines + odd dreams. Starting out back in the day merely with a Commodore 64 computer and a few synths, his studio gear arsenal has constantly evolved over the years into a myriad of unfathomable boxes, cables and bangin’ in his attic allowing him to freely manipulate his random audio creations into the most serious and fun grooves anywhere in the techno realms. Along-with his own imprint Tonewrecker Recordings, Paul’s appeared on a huge stack of the most impressive labels including Don’t Recordings, Fun In The Murky, Earwiggle, Mord and of course a plethora of remixes and tracks on our very own RIOT Radio Records.

From within a tomb in ancient lands comes this 'Bandage Boogie.' A hallowed homage to all things that are non-stop breakin'  n' stompin' n' boppin' to the RIOT beats that have now manifested themselves on a 'Mummificated' dance floor near you. This aint street life, this is tomb life, and you'll need as many sacred tanna leaves to keep you movin’ as your fiendish high priest will bestow upon you. This brewed techno fluid that we're administering will ultimately invoke 'The Curse of RIOT’ and you’ll be doomed to eternal bouncin' aboot to its 'Pyramid Pongo' beats that go mysteriously THUMP in the night. Each track on here, and especially in his infamously legendary live sets, are unique in that they get erased from his machines after their creation and won’t ever be spawned again, but ssssssssssssssh, Mummy's the word.

The full digital release also features two bonus immortal tracks delving you deeper into the life-giving sounds of this ‘Mummy Wrapsody.’

WARNING: THESE UNWRAPPED TECHNO BEATS CREATE A WONK-A-THON YOU WILL NOT ESCAPE FROM

With S.I.K. (Sociedad Internacional de la Kumbia), Conjunto Media Luna maps a constellation of sounds, friendships, and underground connections stretching across Colombia, Mexico, the United States, and beyond.
Produced in Bogotá between 2024 and 2026 by Iván Medellín, the album draws energy from rebajada culture, low-end frequencies, vinyl obsession, rap, and the hypnotic pull of cumbia. Accordion melodies, sampled fragments, drum machines, and sound system pressure intertwine throughout the record, creating a world where tradition is constantly reimagined through contemporary urban culture.
Featuring contributions from artists such as La Gallo 3:20, Turbo Sonidero, Amantes del Futuro, Mextape, León Pardo, Mismo Perro, and Hito de Piedra, S.I.K. unfolds as a dialogue between scenes that have spent years exchanging records, ideas, aesthetics, and frequencies.
The artwork comes from Mateo Rivano, one of the key visual architects of Bogotá's experimental tropical underground, whose imagery perfectly captures the album's blend of street mythology, sonic futurism, and tropical psychedelia.
Part sound system manifesto, part love letter to the global kumbia underground, S.I.K. is dedicated to everyone expanding the culture from their own corner of the map, through music, dance, graphics, fashion, and noise.

Edition of 600 copies, not sealed

Made with Love by Little Beat More 2026
Published by Little Beat More

FIRST TIME ON VINYL! “Instalação Do Samba”, originally released in 2004, has become one of the defining albums in the history of Schema Records. With producer Stefano “S-Tone Inc.” Tirone, Toco created an album that embraced the essence of samba and bossa nova while allowing them to breathe naturally within a contemporary musical landscape, blending Jazz, soul, understated electronics and sophisticated arrangements. Released only on CD at the time, “Instalação Do Samba” is finally given the analogue home it always deserved. This first-ever vinyl edition also includes “Qui C’Est Celui-Là”, previously included in the French CD edition. Over the years, Toco has become the most streamed artist in the entire Schema catalogue, introducing his music to audiences beyond the traditional boundaries of Brazilian jazz and contemporary bossa nova. His songs continue to resonate with listeners around the world, proving that authenticity never goes out of style.

Woxow's The Tape Reset Vol. 2 is out now on Little Beat More!

Composed during the same sessions that gave life to The Tape Reset Vol. 1 in 2021, Woxow’s The Tape Reset Vol. 2 emerges only now, five years later. A second chapter that remained quietly on the shelf, completing the sonic path opened by the first volume and revealing another side of the same creative moment.

The EP is largely built around organic samples, arranged with a restrained and precise approach. Subtle instrumental appearances shape the atmosphere along the way. A vibraphone introduces the opening moments, setting a cinematic tone that gradually unfolds through layered textures and steady beats, while the record closes with a clarinet solo, a final gesture that echoes the instrumental heard in the intro of the first volume, subtly bringing the journey full circle.

Essential and evocative, The Tape Reset Vol. 2 expands the universe of the project while preserving its core language: beats, samples, and carefully placed instrumental voices moving together in a quiet, cinematic flow.

Woxow's The Tape Reset Vol. 2 is out now on Little Beat More!

Composed during the same sessions that gave life to The Tape Reset Vol. 1 in 2021, Woxow’s The Tape Reset Vol. 2 emerges only now, five years later. A second chapter that remained quietly on the shelf, completing the sonic path opened by the first volume and revealing another side of the same creative moment.

The EP is largely built around organic samples, arranged with a restrained and precise approach. Subtle instrumental appearances shape the atmosphere along the way. A vibraphone introduces the opening moments, setting a cinematic tone that gradually unfolds through layered textures and steady beats, while the record closes with a clarinet solo, a final gesture that echoes the instrumental heard in the intro of the first volume, subtly bringing the journey full circle.

Essential and evocative, The Tape Reset Vol. 2 expands the universe of the project while preserving its core language: beats, samples, and carefully placed instrumental voices moving together in a quiet, cinematic flow.

• Libertine is Gene’s final studio album released in 2001
• Highlights include the single ‘Is It Over?’ and ‘O Lover’
• Double LP pressed on 180g Heavyweight vinyl with original artwork and printed inner sleeve
• Inspired by the songs of The Smiths, The Jam and The Faces, Martin Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. They released four studio albums and a collection of B-sides and radio demos between 1995 and 2001, were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

This latest project by Groovedesign Kollective is rooted in movement, thoughtful tension, joyful repetition and dreamy release.

United Tribes
The Groovedesign factor shapes itself in the opening track 'United Tribes' by repositioning intimacy over chaos, a life affirming sound that belongs to those magic early morning hours that really shape experiences. And generations. A unique blend of Afro, Funky beat and Disco Clubby grooves merging with visionary House piano's themes within a rich, deep electronic tapestry and dubby effects.

Supremes
This track perfectly complements the previous yet it is its own groove and carries great dancefloor weight. Further developing the concept of exquisite fusion and fine contamination between already blurred genre's lines, where feelings and emotions meet their sonic counterparts.

Feeling the dancefloor comes as a second nature to Groovedesign: unrelenting yet subtle, innovative yet grounded. Their music carries experience and innovation without announcing itself, guided by an intuitive sense of energy rather than formulas.

Bring home Freya Skye's live fan favourite "bad taste" on 7' translucent red vinyl. After performing the song for audiences across the globe on her sold-out Stars Align Tour, Freya is releasing "bad taste" for the very first time as an official studio recording. This collectible is a must-have for every Skylight -- get yours before it's gone

"Memory Remains" A Vinyl Cover Painted by 20 Children Who Believed They Could

A new album where the artwork is as personal as the music, created entirely by first-graders from Croatia.
When it came time to design the cover for Memory Remains, there was only one group of artists who felt right for the job: the first-grade class 1A of Osnovna škola Luka in Sesvete, Croatia.
Every single child in the class took part. Each student was given the chance to draw whatever came to mind: memories, dreams, imaginary worlds, the people and animals they love, and every one of those drawings made it onto the final cover. Nothing was left out, nothing was "corrected." The front and back panels of the vinyl are a patchwork of more than two dozen individual visions, side by side, unfiltered and unmistakably their own.
The idea grew directly out of the album's centrepiece track, "World Child", a song about the simple, often-overlooked truth that every child carries a talent that belongs only to them, and that no two ways of seeing the world are the same. Rather than illustrate that idea with a single artist's interpretation, it felt right to hand the canvas to an entire classroom of six- and seven-year-olds and let them prove the point themselves.
The result is a cover that doesn't try to look polished or professional, because that was never the goal. It looks like a classroom wall covered in a year's worth of drawings, each one different, each one someone's best effort, each one worth keeping. Which is exactly what "World Child" is about.

Memory Remains is out on vinyl.
Track of note: "World Child"
Artwork by: The students of 1A, Osnovna škola Luka, Sesvete, Croatia 2026

Groovedeep, the international supergroup comprised of Toronto’s Ciel and DC stars James Bangura and Jackson Ryland aka JR2k, brings Fixed Rhythms a 12” of four racing, groovy, energetic, funky and lush techno cuts. This is the second vinyl outing by the group, the first one being the recent “Funk Solo” on Turbo Recordings featuring remixes by Batu, Shed, and Mark Broom.

“Speed Queen” opens up the EP with hypnotizing techno that eschews any four-on-the-floor demands. Up-tempo with a touch of house and handdrums and a tantalizing vocal clip. “Witness” has a similar structure…handdrums, non four-on-the-floor kick drum composition, rhythmic vocal chop-work, but whereas A1 is the leap into the deep, “Witness” has us diving down, exploring the eerier depths.

Whip to the B-side with “Flashback”, a slightly more east coast club track while also incorporating a bit more of a pummeling kick. The aforementioned Groovedeep sonic signatures are there, and…can’t get enough of the handdrums?!?! Well then just let that last “Witness (Bongo Heavy VIP)” track slide in, a slightly meaner (and of course bongo-ier) boom of a take on the A2.

Don’t let this one speed by you!

New batch of Heartical featuring The Viceroys, BDF & Jamtone ! Song Instrumental !

New batch of Heartical featuring a BIG General Levy tune and another Spiritual song on the flip!!

The sun sat high above the desert outside Joshua Tree on October 17, 2024, baking the rocks and shrubbery outside the Farrington Observatory as a small group of invited guests ventured up a steep path towards the telescope. Kyle Simon, the artist and printmaker who founded the Observatory, was standing outside the print studio sat below the towering cylindrical building, greeting friends alongside his wife Sarah and lifelong friend Brian Weitz, the musician widely known as Geologist of Animal Collective. Simon and Weitz had spent the previous day testing and retesting a system that would transform the light of the oncoming full moon captured by the gigantic telescope into a signal that would modulate the control voltage of Weitz’s modular synthesizer. As the sun dipped below the horizon line, the audience gathered on a small wooden patio surrounded by speakers while Weitz readied himself behind the array of patches and knobs. Simon addressed the group, presenting the history of The Sirens, the sonic exploration of the night sky’s mystical and scientific significance about to unfold.

The music conjured under the Hunter’s Moon that night is now documented on this first official release of The Sirens, which was conceived by Simon and Weitz as a recurring performance piece and sound installation. Over a decade ago, Simon began immersing himself in literature on humanity’s sonic relationship to the celestial realm, including Homer’s Odyssey, Plato’s “Spindle of Necessity, ” Kepler’s Harmonices Mundi, and the field of astroseismology. He fitted homemade telescopes with photodiodes and optical sensors to make the images audible, finding latent patterns in the noisy sonic signals he began receiving from the stars. With Weitz, the process expanded as the signal was routed through an analog amplifier and set to modulate the pitch, filter, and other elements of his synthesizer. Together they developed a system of improvisation, with Simon adjusting the telescope to change the intensity of the light based on its relationship with the moon’s position (imagine a theremin player moving their hands in subtle, meaningful motion), and Weitz responding to that input in real time: bending it, amplifying it, or letting it stand on its own. The duo debuted the piece at the Integretron in Joshua Tree in 2018, providing a crucial proof of concept for the performance at Farrington featured here.

The first thing the listener hears on The Sirens is the opening of Farrington Observatory, the cranking of motor and metal. As the lens of the telescope is exposed to the evening air, a wavering drone emerges from the synthesizer, flickering at the margins, the tuning of the oscillators adjusting to the rapidly cooling desert air. The piece progresses and the drone becomes a luminous, spherical constant, bathing the listener in pure tone as Weitz draws out harmonically ambiguous melodies that spiral upwards. Electronics crackle and convulse, coalescing into dense dissonance before widening out into an open octave. Just as the moon orbits the Earth and the stars shift as the planet rotates, so each sonic element appears in flux, interrelationships slowly forming and falling away. Divided into two parts, The Sirens flows as a continuous conversation between the artists and the starlight completing its thousand-year journey across the galaxy.

The Sirens belongs primarily to a lineage beyond music: of sea captains navigating by looking skyward, of astrophysicists studying the formation of the Milky Way, of the modern myths of werewolves, of the stories embedded in constellations. As Simon writes in the album’s extensive liner notes, “These stories and explorations reveal a collective yearning to become conscious of our connection to the universe, our deep-seated desire to understand how we fit into it all.” This music underscores the history of the night sky as the place where poetry and science find common ground, where exploration hinges on the imagination. Driven by curiosity and ingenuity, Weitz and Simon look up and wonder.

Teen of Denial: Joe’s Story is a freshly reimagined take on Car Seat Headrest’s beloved breakout, Teens of Denial, now celebrating its 10th anniversary.
On the original album, Toledo often used the name “Joe” as a pseudonym – a sly homage to Daniel Johnston. Revisiting Teens in the run-up to its 10th birthday, he felt called to give Joe a unique backstory and began tweaking the album to tell that tale. The group returned to the studio with Teens producer Steve Fisk to update accordingly – tweaking lyrics, revising arrangements, and recording new songs in the “Denial-style,” including ‘Optimistic Son” and the anthemic ‘Joe Drives Again’. The result retains Teens’ dark edge and youthful cynicism, but allows a bit of hard-won compassion into the mix.

From Will Toledo:
Sometime last year, it was suggested to me that we do something for the ten-year anniversary of ‘Teens of Denial,’ so I started looking back on the album to see what we might do. In spite of some of its songs being a regular part of my life for the past decade, it wasn’t a record I’d thought much about as a whole since it came out. Most of the songs I’d come up with over a two-year period at the end of my college days, when I was struggling a lot with cynicism and misplaced aggression. But by the time the songs were done, I was living in Washington, Car Seat Headrest was a full band with a record label, and in spite of the turmoil of the writing process, the final album was pretty enjoyable for everyone to work on.
This time, looking back at the songs, I started to feel like there was a story being told through the album, though I’d never imagined it as being a narrative work. On ‘Hi, How Are You?’ Daniel Johnston had used the name “Joe” in the titles of a few tracks –“No More Pushing Joe Around,” “Keep Punching Joe” – as a sort of joke, a stand-in for himself. I borrowed the idea, and the name, for titling songs on ‘Denial.’ This time, I started thinking - who is Joe? And how do the songs, in the way they’re sequenced on the album, reflect what he’s going through? As I started asking this question, a story emerged with startling wholeness and clarity, like finding the foundations of an ancient city while digging in my backyard. As I kept digging, certain songs from the original album fell by the wayside, as they seemed misplaced in this new context; others asked for new lyrics, to fully give birth to the story contained in the music.
The resulting work feels more like the album ‘Teens of Denial’ was meant to be. When you’re writing from a dark space, it’s hard to have perspective on where you’re at. This time, I could pull from memories of that darkness, and use the distance and additional perspective of ten years of life to shed a fuller light on the experience. Joe is a character going through some of what I experienced, and some of his own problems. Telling his story, and not just my own impressions of life at the end of the teen years, brought a new level of compassion and wholeness to the album. It gave us the opportunity to write new material in “Denial style”, embracing a snappy and simple(ish) rock aesthetic, and in an additional blessing, we were able to team up once with Steve Fisk, a joy and inspiration to get back into the studio with after ten years. We mixed the material at his house in Tacoma, and were constantly amazed at the lack of divide between past and present, as we’d punch in vocal overdubs ten years later into the same gear, hearing my voice now running alongside a 2015 Will. For someone coming across this album or this band for the first time, this is how they’d hear the record, not as a relic of the past but as a new piece. It was immensely rewarding to experience that on our side.

For anyone familiar with ‘Teens,’ comparisons with the original will be inevitable, but I do hope that as much as possible, people can come to this album on its own terms, approaching it as a teen, hearing the music and story for the first time. I believe music is an ongoing story, and albums don’t always do justice to its dynamic, ongoing nature. What gives it life is the new ears that hear it, and the new hearts that engage with it. I’m so grateful that this is a work that people have kept coming to, and I hope that this presentation does them honor with a fresh offering to the conversation. We’ve known that “it doesn’t have to be like this”; now we can wonder - “what it if were like this?”

Murmuration’ is the low hum made by vast, beautifully choreographed flocks of starlings as they simultaneously flap their wings and take to the sky. Some people say that the frequency of this unique, rumbling, oscillating sound can cure diseases...

One of the most exciting live bands in the UK, British Birds combine the garage-punk energy of Billy Childish, the wry English sophistication of XTC and the witty pop inventiveness of The Lovely Eggs. Like a murmurating flock of starlings, they create a unique sound, and might even be able to cure diseases.

Based in Chorley, Lancashire, British Birds are a resolutely DIY band. Bobby records and mixes all the music; Emma creates all the artwork. Their first two albums were self-released, selling hundreds of copies at gigs and at a few chosen record stores. British Birds didn’t wait for permission to take flight. They just got on with it. Their songs are sophisticated, hard-hitting, and very skilful. It may be DIY, but it’s big and it’s ambitious.

Sessions for Marc Riley and Gideon Coe have followed, along with tours supporting The Bug Club, BC Camplight and Lovely Eggs.

‘Murmurate, Oscillate’ kicks off with Lie Down With Dogs, Stand Up With Fleas, a rousing expression of exasperation at our passivity in the face of lame authority. British Birds are acute observers of the English political scene, shrouding their observations in humour and surrealism. Polka Dot Eyes is another piece of sharp social observation: it portrays Lancashire lads – friends from school – who join the Army and return home physically and mentally damaged. The song is simultaneously disturbing, funny and catchy as hell. From the fog of disinformation and doubt that surrounds us all in 2020s Britian, British Birds embrace the darkness, but with wit and verve – no slogans, no easy answers – and with an energy that helps us escape the mundanity of a declining island. This might all sound a bit bleak, but it’s not: every single one of the songs on this album has a chorus as big as a house.

There are personal songs too: Scary Movies is a poignant description of Bobby and Emma’s grandfather, who delighted in showing them horror films when they were kids – giving them sneak previews of the darkness they’d come to embrace as adults; Just Like Them is a celebration of introversion: it might not be fun, but it’s better than being an idiot. (Paradoxically, any other introverts who hear this song will feel impelled to join in in the chorus.) Blame Game and Thunder Claps examine the darkness inherent in relationships: there is always an impending storm, if you recognise the low hum of the imminent thunder. Once again: the choruses of these songs confound the melancholy sentiment.

You’ll get the same impression if you see British Birds live: Bobby’s ferocious guitar and dark lyrics are counterpointed with Emma’s sometimes haunting, sometimes playful vocal responses and insistent rhythms. You’ll be swept away by the energy of a band who don’t know the meaning of limits. And as the songs get darker and darker the smile on your face gets wider and wider.

The core members of British Birds are siblings Bobby and Emma Townson, working from their HQ-cum-nest in Chorley. Drums are by Dominic Lawson (apart from Michael Aindley on ‘Just Like Them’). Bass is by James Robinson.

British Birds will be embarking on a headline tour of the UK in early 2027.

Trumpeter, rapper and sonic wanderer Pan Amsterdam has carved out one of the most distinctive voices operating at the intersection of jazz and hip-hop today.

Pan Amsterdam is a musical enigma wrapped in an enduring riddle. His creator is a jazz musician from Houston who’s found fame working with Detroit punk rock God, Iggy Pop, and British indie royalty, Metronomy, and now makes shapeshifting, adventurous hip hop out of the music’s spiritual home, New York.

He’s an irreverent character born out of frustration and named after a misunderstanding, yet one who’s on the verge of releasing his fifth album of truth-slaying, genre-crossing rhymes and beats. The result is a catalogue that feels both deeply rooted in Black American musical tradition and completely untethered by convention.

Pan Amsterdam returns with ‘Panarama’, his fourth full length album and a bold reassertion of his hip hop identity, released via Def Pressé. Created by Houston-born, New York-based musician and composer Leron Thomas, the record finds Pan Amsterdam embracing the harder edges of his sound while continuing to blur the lines between jazz improvisation, abstract rap, punk attitude, and experimental production

Written as a response to contemporary life and the endless cycle of information, conflict and distraction that defines modern culture, ‘Panarama’ unfolds as a stream of consciousness journey through hyper-normalised realities. Across sixteen tracks, Thomas navigates social commentary, personal reflection, absurdist humour, and cultural critique, delivering his observations with the same spontaneity and freedom that have become central to the Pan Amsterdam project

Lead single ‘Szechuan Beef’, produced by acclaimed collaborator 1FS, serves as one of the album’s defining statements. Built around Thomas’ signature free-flowing delivery, the track explores the overwhelming nature of contemporary life, where domestic conflict, social division, entertainment scandals and political discourse become flattened into a constant stream of content.

In Thomas’ own words: “My stream of consciousness style comes quite naturally to me due to the conditioning of scroll down culture where everything, no matter how minor or extreme, is hyper normalised.”

Elsewhere, the track ‘Vanilla Ice’ was written in response to widely publicised ICE killings and the speed at which tragedy is absorbed and forgotten within online culture. Thomas channels the anxiety and emotional disorientation of endlessly consuming information, allowing his thoughts to unfold in real time as social commentary collides with everyday digital noise. The result is both deeply personal and sharply observational, reflecting the fragmented reality of modern life. Other album highlights include the cinematic, Interpol-esque opener - ‘Old Friend’ complete with shimmering guitar lines and an far-reaching introspective, no-filter vocal as Thomas teams up with Nick Zinner (Yeah Yeah Yeahs) and Brad Truax (Interpol) across multiple tracks, often the production traverses left-field indie territory, but always maintaining Pan Amsterdam’s unique musical identity throughout. For the hip hop purists and beats lovers there are plenty of riches to discover from the clever nostalgic sample flips of ‘Cutlery’, the sleepy lofi of ‘Shuriken’ and the wonky LA beat scene / early Flying Lotus era beats of ‘Drunken Noodles’ - all boasting quick witted lyricism. ‘Deep Fried Shiney Things’ explores early electro and industrial sonics while album finisher is an upbeat new wave / indie band cut which sees Thomas take a break from rapping, but of course never letting up on the sharp observations nonetheless


While his previous record explored more alternative territory, ‘Panarama’ marks a deliberate return to rap, as Pan Amsterdam explains:

“I just wanted to do a rap album again.I enjoyed making my last album, but I felt like rapping again. I like to have the freedom to move in between musical worlds that suit the current state I’m in. Frequency accommodating frequency.”

This philosophy runs throughout the album. Tracks move effortlessly between jazz-inflected arrangements, experimental beats, punk energy and underground hip hop aesthetics, allowing ideas to evolve organically rather than conforming to traditional structures. Thomas describes himself as an improviser first and foremost: “I think like an improvisor. That’s how my albums pretty much move. It’s improvisation.”

Featuring additional contributions from Spice Programmers, AnOtter and Mr. Shn, ‘Panarama’ presents a wide-ranging cast of collaborators while remaining firmly rooted in Thomas’ singular creative vision. The record embraces contradiction, humour and unpredictability, capturing fleeting thoughts and observations with the same freedom and spontaneity that define jazz improvisation itself.

A musical enigma wrapped in an enduring riddle, Pan Amsterdam has built a reputation as one of contemporary music’s true outsiders. The project emerged from frustration, experimentation and artistic freedom, with Thomas drawing equally from his background as a jazz musician and his collaborations with artists including Iggy Pop and Metronomy. Operating from New York while carrying the spirit of Houston’s musical heritage, Pan Amsterdam has developed a distinctive voice that sits comfortably between avant-garde jazz, underground hip hop and experimental music.

Reuniting with Def Pressé for ‘Panarama’, Thomas explores what he describes as the more hardcore side of his artistic identity:

“They let me do anything and everything I wanna do so long as it’s on audio, and I need that freedom. What may verbally be perceived as vulgar to one group of people may be very thoughtful and a poignant description of the times that we’re presently in, so I’m glad that I’m part of a label home that understands that.”

In the spring of 1971, somewhere between Brussels, Paris and a collective pop fever dream, Le Monde Fabuleux Des Yamasuki landed on vinyl. It sounded like nothing else then and it still does not today. More than half a century later, Sdban Records proudly presents a reissue of this singular cult album, available from April 3, 2026 on vinyl.

The album was produced by Jean Kluger and written both by Jean and Daniel Vangarde (aka Bangalter, later the father of Thomas Bangalter of Daft Punk), who were alreadywell ahead of their time, long before electronic music rewrote the rules of pop culture.

Released under the name Yamasuki, also referred to as The Yamasuki Singers, or The Yamasuki's, the project was never intended as a conventional band. It was a studio-born fantasy, a concept album disguised as a pop record. What began as a standalone single quickly expanded into a full-blown pan-cultural pop opera that ignored genres and common sense with joyful abandon.

Musically, the album sits at a delirious crossroads. Psychedelic pop collides with funk rhythms, samba and bubblegum melodies, full of chants and choruses in a phonetic pseudo-Japanese, written with the help of a dictionary. Kluger and Vangarde famously recruited a children's choir to perform the vocals, and for added spectacle, they brought in a Japanese judo grandmaster, whose ritualistic shouts and battle cries erupt throughout the record.

Several singles were released. One of them, Yamasuki, with accompanying dance move, appeared in the United Kingdom and France on John Peel's Dandelion label, a fitting home for a record that thrived on the margins of pop culture. Its B-side, Aieaoa, proved even more potent. In 1975, the song was reborn as A.I.E. (A Mwana) by Black Blood, an African group recording in Belgium, this time sung in Swahili. That melody would travel even further. Aie a Mwana became the debut single of English pop group Bananarama, and in 2010 it resurfaced once more as Helele, an official song of the FIFA World Cup, recorded by South African singer Velile Mchunu with Danish percussion duo Safri Duo. That version became the most widely known incarnation of the song. With Jean Kluger directly involved, it was less a cover than a continuation of the original idea.

The album's afterlife did not stop there. Over the years, Yamasuki has been quietly sampled, covered, and featured across media far beyond the realm of novelty pop. Kono Samourai was sampled in The Healer by Erykah Badu (2007), produced by Madlib, while Yama Yama has found its way into recent pop culture as well: appearing in the television series Fargo, on Angus Stone's project Dope Lemon, and on the 2008 Late Night Tales compilation curated by Arctic Monkeys drummer Matt Helders. Proof, if any were needed, that this strange little record carries a deeper musical DNA than its playful exterior might suggest.

This new reissue of Le Monde Fabuleux Des Yamasuki proves the renewed interest and respect for this cult album, faithful to the original spirit while finally giving it back the physical presence it deserves. In an era obsessed with genres and algorithmic neatness, Yamasuki still laughs, dances and karate-kicks its way past definitions. It reminds us that pop music can be playful without being disposable, strange without being cynical and joyfulwithout explanation. The world of Yamasuki was always fabulous, we are just lucky it found its way back to us!

Love or its absence dominates the intimate songs on the new album from ARBORIST – the musical outlet of Mark McCambridge. Looking For Love, Arborist’s fourth album of exquisitely inventive Americana, places us firmly in his hometown of Belfast, allowing it to act as a microcosm of the wider-world, with all its foibles and charms. We find fictional protagonists scouring the dark corners of the city, wiling-away afternoons in strip clubs, wandering the streets in all weather and reflecting on the harsh reality of modern society, all in search of an elusive love – emphasising our need for it now more than ever.
Looking for Love is ARBORIST’s first album to be self-produced by McCambridge, largely from his home studio in Belfast – and at times it feels like we are in the room with him. It’s a different kind of record for him as previously he has always sought collaboration; whether it be with Kim Deal who chose to sing intertwined harmony on his debut single “Twisted Arrow”, or recording in The Curfew Tower owned by The KLF’s Bill Drummond who described Mark’s songwriting as being “riven with more loss than any record since Leonard Cohen quit this world”, and who Matthew E White and his Spacebomb band collaborated with to such astonishing effect on the previous Arborist LP, 2023’s An Endless Sequence of Dead Zeros, winner of the prestigious Northern Ireland Music Prize. This time, with no outside producer steering the way, McCambridge found that the quiet hours were where he felt most at ease, despite periods of trial and error, and, by his own admission, moments of feeling genuinely lost in it all.

Despite playing many of the parts himself, McCambridge still called upon old friends from the community around him; Spacebomb’s resident bassist Cameron Ralston (Bonnie Light Horseman, Hiss Golden Messenger) again features throughout the record, alongside Eamon Ferris (The Waterboys) on drums, with the great and the good from Belfast’s vibrant music scene. Grainne Meyer plays concert harp and Aga Olek plays violin for the quasi-title track “Looking 4 Love” – an off-kilter love-letter to Belfast. Meilana Gillard provides a sleazy saxophone on “Bye Bye Johnny Cash” – a seedy tale of a man obsessively visiting a dancer in a club, and The Larne Community Youth Choir provide backing vocals for “Go Kill The Fatted Calf” – a song Mark wrote about his son growing up, a take on the parable of the prodigal son, with Jonny Ashe’s blistering guitar solo adding an album highlight. The Errigal Ensemble String Quartet and Aisling Agnew’s breathtaking flute solo feature on “What Is It You’re Asking” – a song about love, or its absence, both personally and universally in these times.
McCambridge was recently honoured with a “Fellowship” by the Seamus Heaney Centre at Queen's University Belfast where he collaborated with such illustrious names from the literary world as Nick Laird, Caoilinn Hughes and Conor McPherson. Through the University he was given access to the music department's Steinways and pipe organs, and decided to try one out for the album’s centrepiece “I’ve Been A Flaneur”. As Mark explains, "The drone on the pipe organ — and the sound of it starting and stopping — was so visceral that I decided to try a half-written song against it right there and then, and this came out in one take… The song was a breakthrough artistically - I don't think I'll ever record in the same way again after this."
The album was engineered by longtime collaborator Ben McAuley (Van Morrison) and mixed by Jimmy Robertson (Anna Calvi, Beth Gibbons, Fat Dog). The results are staggering, devastating and uplifting in equal measure, calling to mind albums such as Songs Ohia’s Magnolia Electric Co., The Divine Comedy’s Regeneration, The Blue Nile’s Hats and Wilco’s Ode to Joy, as well as early-70s records from John Cale, John Lennon and Bill Fay.

Belfast native Mark McCambridge played his first show as Arborist supporting James Yorkston. A solo tour followed, and impressive performances led to notable support slots alongside Low, Cat Power, Echo & The Bunnymen and Guy Garvey. Arborist's debut single, the Americana-tinged "Twisted Arrow," caught the attention of the critics with an astonishing duet with Kim Deal of The Breeders. The debut album Home Burial (2016) and its follow-up, A Northern View, both received glowing praise, from The Guardian ("instant classic" ----) to MOJO ("devastatingly bleak… upliftingly beautiful" ----) to Uncut (8/10), with BBC 6 Music play from Cerys Matthews, Cillian Murphy, Lauren Laverne, Radcliffe and Maconie and Gideon Coe — and Steve Lamacq calling single "Taxi" "one of those records that makes you immediately stop what you're doing." He went on to even greater success with the 2023 Northern Irish Music Prize winning third LP, An Endless Sequence of Dead Zeroes, which was recorded at SpaceBomb Studios in Virginia with musician and producer Matthew E White. For his fourth LP, Looking For Love, he has signed with Fika Recordings and with a tour approaching in November, 2026 looks set to be a seminal year for the Irish artist.

On Oath's latest, the imprint keeps the jazz-fuelled atmospheres going with 'Seven Dogs', an EP that serves up an astonishing excursion through deeply hypnotic melodies and idiosyncratic grooves, courtesy of an iconic link-up between Rteph88 aka Robin Taylor-Firth and Steve Cobby.

Taylor-Firth and Cobby are musicians whose careers are so richly storied, broad-ranging, and impactful that it's difficult to summarise their output and impact in so few words. Both Taylor-Firth and Cobby firmly established themselves in the 90s, being involved in some of the era's most prominent and celebrated groups and for releasing some truly era-defining records. As such, their discographies reach far and wide, from house and techno cuts through to downtempo, drum'n'bass and leftfield, there is little that is left uncovered, and this spirit remains with them both as they continue to explore the outer parameters of their sounds.

Taylor-Firth, a songwriter, arranger, and producer, is perhaps best known for his long association with Warp Records and its sublabel Nucleus, and for his work as a member of Nightmares on Wax, where his signature keyboard playing style became a staple of the group's legendary sound. Alongside this, he has hundreds of songwriting and arranging credits on a dizzying array of records, and was a member of house music group Anon and Pio Bo alongside Richard Barratt - to name but a few selected highlights of his extraordinary career. Cobby's career is distinguished by his multitude of releases under a variety of aliases, along with his helming of a number of imprints, including Pork Recordings and his most recent label Déclassé. Experimenting with a wide variety of genres and sounds, perhaps his best-known work was with the duo Fila Brazillia alongside Dave McSherry, who released a plethora of immersive and innovative records in the 90s and beyond.

'Seven Dogs' represents a shared passion, vision, and musicality, two languages borne of similar spaces but reaching through time, space, and existence in creating a richly veiled musical experience that draws from lifetimes spent within the nucleus of music's soul. The EP speaks of the present as such as the past and indeed future, hinting with motifs that feel right at home within sun-kissed skies and within the walls of the chill out rooms. 'Early Doors', the EP's opener, displays the core fundamentals of the unfolding experience, namely the intrinsic relationship between keys and drums and how they express tone and mood. The piano gently caresses, ethereally floating with space to grow, as the drums lightly swing into life, providing an engrossing and rhythmically diverse groove that nods as much as it dives. The title track lands next and leads with a more driving feel. Sonically, the track leads with an oozing bass sequence that worms through the mid range before retreating under an array of compelling piano chords. The drums once again provide a strong backbone, allowing the melodic elements up top to fully express themselves - in a myriad of ways, murmuring and clamouring all at once.

'Visiting Hobo' brings the groove down a few notches. Slightly sombre in its delivery, the piano and bass interchange above a sparse yet hard-hitting groove, with as much emphasis placed on the emptiness as on the melodically full sections. The piano has a certain tonality here, with the notes containing a large amount of textural reverb that helps the track feel alive, almost growing out of the speakers. Wrapping things up is 'Titled', which begins with the keys and an array of whimsical features. The drums allow themselves time to grow into being, but when they do, they simmer within an enriching melange. It's a fitting end to a record that abounds with sonic consideration, environmental and emotive feeling, where two technicians bring their best and serve up four tracks of such sublimeness and thoughtfulness. One to drift deep within, on those hot summer days….

Once upoun a time Fat Mike came up with the idea of calling up 101 of the best old and new punk rock band around, have them each record a 30-second long song, then put all the tracks out on one record to make the best punk compilation ever. And guess what, the dream came true. The 101 most famous punk rock bands around doing each a 30 seconds long song Back in print for the first time in ten years! Pressed to Lime Vinyl Features super rare songs (recorded exclusively for this compilation) by Green Day, The Offspring, Blink- 182, Pennywise, Rancid, Less Than Jake, The Vandals, Bad Religion, and more

The track titles on Post Dub Cities – the new album by Adriano Zanni, photographer, sound artist, and field recordist – evoke the aftermath, that moment when a place continues to exist and live on, but no longer serves anyone. The human element has vanished, whether it happened overnight or through a slow abandonment that lasted for years. The perspective shifts: buildings, homes and palaces reveal a dimension of reality all their own, in which even the ruins give shape to this landscape that endures, transforming into pure presence.

This, after all, is our fate. The fate of us human beings, of our civilisation, of every civilisation: to pass away, to be forgotten, to erect monuments whose significance no one will remember once we are gone.

The opening track Crisopoli transforms the sonic dimension of a city into an echo chamber: a dark, urban dub built from delays and resonances, holding the imprint of what is no longer there — like a bassline that keeps vibrating even after its source has gone silent. What we see is not the presence, but its reverb.

Available from September 11, second excerpt Warosha gives us a minimalist, enveloping, solemn beat, like the symbols on a map that no one can read anymore. Warosha was the district of luxury hotels overlooking the sea in the city of Famagusta. After the island of Cyprus was invaded by the Turkish army, the entire area, emptied of its inhabitants, who had fled south, was fenced off and surrounded by barbed wire. No one has been allowed to enter it since 1974. Now, on these unspoilt beaches, sea turtles have found the perfect place to breed.

Fordlândia, on the other hand, is the symbol of Henry Ford’s failed dream of conquest. An industrial settlement built deep within the Amazon rainforest, several hours’ boat journey from the nearest towns, to gain access to natural rubber for the tyres of his mass-produced cars in Michigan. An extremely costly project, it quickly became a ruinous pipe dream: a town that has been uninhabited for almost a century and has since been reclaimed by nature.

For a long time now, Adriano Zanni has been exploring, through music and photography, the landscape that unfolds before our eyes, as attentive yet silent observers. As if we were absent, a civilisation that has long since vanished: human presence has dissolved, preparing to fade into oblivion. The precise depiction of places through field recordings, and the black-and-white imagery, give rise to apparitions, hallucinations, and memories. The less present we are, the more we seek meaning. We resist abandonment and the indifference of time.

In the ten tracks (plus three bonus tracks) of Post Dub Cities the echoes and reverberations of dub grant us access to an unknown future, as yet untold – in which we are nothing more than a vague memory. The deep sound guides us through a landscape that is familiar yet unknown, unrecognisable. The cold, distant, industrial rhythm resonates within us as if we were the last, all too aware, inhabitant of a now-deserted village.

Every place – be it an abandoned mining settlement on an island in Svalbard, or a ghost town in Pennsylvania evacuated following an underground fire that has been burning for sixty years at a depth of one hundred metres – leaves questions unanswered, shrouds itself in mystery, and makes us wonder, ceaselessly: what happened here?

In the end, we realise that we don’t really care that much about knowing the details of the disappearance. We can guess them, we’ve seen it happen a thousand times before. Just like in the photos accompanying the album, portraits of ghostly, deserted cities: Belgrade, like Venice, Dublin, Sarajevo, Lisbon, Kraków, Sofia, Naples, Hanoi, Lampedusa, Tehran. Unexpectedly, pleasantly emptied of people, and of their obsessions, struggles, illusions.

Then, suddenly, the crowd returns. Busy, feverish, hardworking. The record ends, the spell is broken. We feel a sense of longing for a future that has not yet come to pass, for a place we were only able to observe because we were not there.

Hallelujah Trial is Tom Roberts (Cranebuilders, Beatowls) and John Canning Yates (Ella Guru): two Liverpool songwriters who knew each other for twenty years before they ever played a note together. Roberts brought a folder of songs to Yates' front room. Yates answered with piano. A weekly ritual of tea and talk became a repertoire, the repertoire became a debut performance at the final La Violette Società, and a few weeks later the songs became an album, recorded in May 2026 in the Gustav Adolf Church, the Scandinavian seamen's church on the edge of Liverpool's Baltic Triangle.

The sound is spacious, stripped back and gloriously melodic: voice, guitar and piano, songs in a room, storytelling that recalls Bill Callahan, Lee Hazlewood and the late Johnny Cash records. Yates' Ella Guru drew a Peel session and 'the best debut album since Marquee Moon' from the Independent on Sunday. Roberts' Cranebuilders recorded two Peel sessions of their own. The pedigree is genuine. The songs are better.

Recorded, mixed and produced by John Canning Yates. Mastered by Jason Mitchell (PJ Harvey, Aldous Harding). Sleeve by Pascal Blua, after a rose from William Turner's herbal of 1568. The closing 'Reprise' carries a hallelujah chorus of friends and family, recorded live in the ch

Celebrating the 30th anniversary of its original release, Night Song returns in a special edition on rose leaf green coloured vinyl. A Grammy Award nominee, the album captures the extraordinary meeting of the legendary Nusrat Fateh Ali Khan and Canadian guitarist, producer and composer Michael Brook, whose atmospheric soundscapes provide the perfect setting for Nusrat’s ecstatic, transcendent vocals.

With Nusrat’s legacy continuing to reach new audiences following the landmark 2024 release of the unearthed archive recording Chain of Light, Night Song remains one of the defining cross-cultural collaborations of its era. This anniversary edition includes a printed inner sleeve with updated liner notes and photographs.

*COMES IN GATEFOLD 2LP WITH LINER NOTES*

The premise of this compilation is simple: music we’d like to hear at the airport.

The idea came after learning that Honolulu’s international airport has been playing AI-generated music over its speakers since November 2025. First reported by Civil Beat, the news has caused frustration and disappointment among residents and visitors, as well as within the local music community.

Everyone knows Hawaii is one of the most musically rich regions in the world — why then is the airport using AI music? 'Music For The Airport' is our response.

Located in the middle of the Pacific at the outskirts of one the most remote cities on the planet, Honolulu’s Daniel K. Inouye International Airport (HNL) is for most people the first place they encounter when they arrive in Hawaii. Warm sun, tropical tradewinds, playful palm trees and majestic mountains welcome every traveler, as do the sounds of birds, familiar music from Hawaiian artists like Aunty Genoa Keawe and Israel Kamakawiwo’ole, and—at least for now—seventeen “island-themed” AI-generated songs.

In late 1977, while sitting in Germany’s Cologne Bonn Airport on a Sunday morning, Brian Eno noticed how terribly uncomfortable he felt hearing the airport’s “muzak” overhead. For a harried, hurried place like the airport where travelers scramble to their gates, stand in long border control lines, and wait impatiently for their luggage at the carousels, music can create more anxiety than calm. Asking himself, "What should we be hearing here?", Eno soon created ‘Ambient 1: Music For Airports’, a sonic remedy aimed at reducing nervousness in public spaces.

When we heard the news that HNL airport is playing AI-generated “muzak”, we were immediately reminded of Eno’s genre-defying 1978 album. And we were similarly inspired to react. But how? Recreating an ambient masterpiece wasn’t in our wheelhouse. We started digging through our catalog of licensed music which we haven’t yet re-released. We quickly realized this was our chance to highlight some of favorite songs from the so-called CD era: the 1990s and 2000s (with a few exceptions). In less than 20 minutes, we pulled 17 original songs recorded by local artists between 1984 and 2017.

The speed at which this project came together surprised us; reactionary gut instinct often produces swift and lasting results. Ironically, our new compilation likely took less time than it did for the state Department of Transportation to commission its AI songs in question. But even though ‘Music for the Airport’ came together in less than one week, the truth is that this collection of 17 songs is the result of years of hard work, trust, sacrifice, patience, and understanding. Building relationships with and licensing music from artists doesn’t happen overnight, but more importantly: these songs are the result of people pouring their hearts and souls into something they believe in. This music wouldn’t exist today without the artists and their loved ones who supported them along the way.

As of this writing, the DOT states its intention in creating AI-generated songs is to “highlight different aspects of the islands, aviation and the airport” and that “no state funds were used to produce them”. Okay, but at what cost? Technology disrupting the music industry isn’t news to anyone. AI music in public spaces are cost-saving measures, since its users (airports, for example) don’t have to pay the licensing fees typically required, which can be a worthwhile source of revenue for artists. But what happens when a place like HNL airport, which hosts more than 21 million passengers annually, uses music created by machines instead of people to represent Hawaii? The identity of a place beings to erode, diluted by a language learning model’s conceptual summary of what a people and its culture sounds like. To echo Brian Eno: what should we be hearing here? In other words: what should the music of Hawaii sound like?

We believe in the power of music, especially when it comes from the soul. We believe in supporting artists, especially as AI disrupts our lives. We believe that Hawaii must be represented authentically, especially when it comes to song. And of course we believe in vinyl, especially since it was a record from 1978 (Mackey Feary Band’s debut LP) that inspired Aloha Got Soul’s origins in 2010.

We hope you find as much joy in this compilation as we have. Perhaps it’ll soundtrack your next journey to Hawaii. At the very least, we hope some people take a moment to hear these sounds: in your headphones for now‚ maybe someday overhead at the airport in Honolulu.

2026 Repress

(remastered classic incl DL card) Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition. In the late nineties, the budding producers Morgan Geist and Darshan Jesrani bonded over their shared love of slower tempos and '70s and '80s NYC club culture. Obsessed with record digging and the sounds they heard on late-night "club classics" radio shows—and turned off by current releases they saw as artlessly "updating" sublime disco by sampling, filtering and subjugating them with huge kick drums —the duo set out to discover how their favorite old 12" records were made. They naturally gravitated towards extended dubs of songs—full of strange mistakes and echoing backing tracks—instead of the better-known vocal versions. Lacking the big budgets and gear that made so many of their favorite classic records come together, they were forced to take a guerrilla approach. They reprogrammed their techno-oriented arsenal of secondhand synths and samplers, using novel digital recording technology to capture live instrumentation and prioritizing mood over hooks, and the resulting music was just wrong enough to sound unlike anything else being released at the time.After just four underground 12" releases, the duo—now well-known as Metro Area—released their first and only album, Metro Area, in the fall of 2002. Fifteen years later, it's time to celebrate the culmination of their shared history and inspiration once again. Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The 12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition.

At its heart, this is truly a classic love story...

Musician, songwriter, and entertainer George Butts has always worked in the spirit of independence and love.

Beginning his musical journey on the East Coast, George spent his formative years playing in bands before eventually making his way to Southern California, ready to step out and pursue his own musical vision.

It was here that music and fate would meet, leading him to something equally important: Kathie, the woman who would become his lifelong partner- personally, professionally, and creatively.

Together, they embraced that same independent spirit and began building something of their own. In the mid-1980s, they established K-Star Productions, a label that became the home for George’s music and marked the beginning of a new chapter in their lives.

In 1986, that journey produced “I Love You So Much,” a song title that feels especially fitting once you learn the story behind it. Written as a dedication to their newly formed relationship, the song carries a sense of warmth that somehow feels familiar to us all. Built around the distinctive sound of a Linn drum machine, layered with lush synths and George’s unmistakable horn melodies, the record radiates heartfelt affirmations of love, capturing not only the spirit of independent ’80s Modern Soul, but the energy of two young hearts coming together and dancing in rhythm.

The record would soon become a dancefloor favorite among local DJs and clubgoers alike. But what began in Southern California would carry George much farther than they could have imagined. The success of the music helped establish him as a respected musician and entertainer, leading to performances and residencies throughout the 1980s and ’90s, from lounges along California’s golden coast to stages as far away as Japan.

Nearly four decades later, these recordings have been lovingly remastered from the original source material by Ron Leeper, the original recording engineer, allowing the warmth and spirit of the music to shine once again.

But this is more than the reissue of a rare independent record.
These classic songs evoke feelings of love and unity, filled with warm melodies, soulful grooves, and an undeniable sense of joy, all brought to life through the partnership of George and Kathie.

Together, they created their own label, followed their dreams, and lived life on their own terms- proving just how far a shared vision can take you.

Today, the music carries that same spirit: heartfelt, uplifting, and alive with the optimism of two people creating something they truly believed in. What they started with K-Star Productions helped launch a musical legacy that would take them around the world and back, a journey that continues today with George still performing live.

Dark Entries is ecstatic to announce Terminal Fascination, a retrospective release of the music of Camille O’Grady, subversive artist, leather witch, punk poet, and gender saboteur. O’Grady cut her teeth in New York’s burgeoning punk scene at clubs like CBGB’s, where her band Leather Secrets would share the stage with acts like Television. She became one of the few women to be welcomed into the Mineshaft, Wally Wallace’s legendary Manhattan gay BDSM club. Towards the end of the 70s, she would trek west to San Francisco to be with her partner, performance artist and gallerist Robert Opel, who was tragically killed in 1979. O’Grady would pass away from COVID in 2020, with her voluminous works across various media - text, image, and sound - having been unpublished during her lifetime.

Working with O’Grady’s estate, Dark Entries has assembled thirteen of her finest recordings, including instant classics like “James Dean to the Rescue,” “Tourniquet,” and, of course, “Toilet Kiss.” Two songs, “Angel with a Key” and “Love Comes Like a Cutthroat,” were recorded at a studio in Los Angeles for a 7” release that never materialized, while the rest of the material was recorded live in 1979 at The Ambush, a San Francisco leather club. O’Grady’s songs, often written from the perspective of a gay man, explode like a genderfuck version of Patti Smith, like Buffy St. Marie in leather, like the hedonic utopianism of the 1960s dragged (blissfully) through the broken glass of the 1970s. The release of Terminal Fascination coincides with the publication of ‘A Cross-Worlds Angel,’ a 300-page book of O’Grady’s work by Phillip Zimmerman. The record includes an insert featuring liner notes, lyrics, and photographs. Celebrate Camille O’Grady, the artist Jack Fritscher described as an “earth mother, a leather lioness of the arts.”

From Richmond, Virginia, Shy, Low have a reputation as one of the most compelling voices within the modern instrumental underground. Their music speaks to fans of post-rock's emotional grandeur and post-metal's crushing intensity alike, while simultaneously appealing to listeners drawn to experimental, atmospheric, and cinematic forms of heavy music. The band's ability to merge these seemingly disparate qualities has resulted in a body of work that is immediately recognizable and continually evolving. Luminous melodies, driving heaviness, layered textures, and carefully controlled tension allows `Purity Spiral' to move effortlessly between fragile moments of introspection and towering passages of intensity. Whether constructing intricate layers of harmony or driving songs toward explosive climaxes, there is a deep understanding of pacing, atmosphere, and the power of restraint. Momentum is at the heart of this album, through intricate rhythmic detail, and explosive bursts of energy, drums become the anchor and catalyst, supporting the band's expansive arrangements while pushing them toward moments of cathartic release. What distinguishes Shy, Low is their ability to balance enormity with restraint. Their music unfolds patiently, allowing tension to accumulate through layers of texture, melody, and dynamics. Moments of delicate clarity often coexist with overwhelming weight, creating a sense of organic motion. At the core of the band's sound lies an acute understanding of contrast. From shimmering, expansive passages to towering walls of distortion, the rhythm section provides both propulsion and atmosphere, becoming integral narrative voices that shape the emotion. There is a disciplined sense of purpose in their writing, an understanding that every note serves a larger arc. Shy, Low thrives in the space between introspection and catharsis, where subtle details become as impactful as the heaviest climaxes, and listeners are taken on a journey that is as visceral as it is profound. FOR FANS OF Caspian * Russian Circles * If These Trees Could Talk * Pelican * Toundra

From Richmond, Virginia, Shy, Low have a reputation as one of the most compelling voices within the modern instrumental underground. Their music speaks to fans of post-rock's emotional grandeur and post-metal's crushing intensity alike, while simultaneously appealing to listeners drawn to experimental, atmospheric, and cinematic forms of heavy music. The band's ability to merge these seemingly disparate qualities has resulted in a body of work that is immediately recognizable and continually evolving. Luminous melodies, driving heaviness, layered textures, and carefully controlled tension allows `Purity Spiral' to move effortlessly between fragile moments of introspection and towering passages of intensity. Whether constructing intricate layers of harmony or driving songs toward explosive climaxes, there is a deep understanding of pacing, atmosphere, and the power of restraint. Momentum is at the heart of this album, through intricate rhythmic detail, and explosive bursts of energy, drums become the anchor and catalyst, supporting the band's expansive arrangements while pushing them toward moments of cathartic release. What distinguishes Shy, Low is their ability to balance enormity with restraint. Their music unfolds patiently, allowing tension to accumulate through layers of texture, melody, and dynamics. Moments of delicate clarity often coexist with overwhelming weight, creating a sense of organic motion. At the core of the band's sound lies an acute understanding of contrast. From shimmering, expansive passages to towering walls of distortion, the rhythm section provides both propulsion and atmosphere, becoming integral narrative voices that shape the emotion. There is a disciplined sense of purpose in their writing, an understanding that every note serves a larger arc. Shy, Low thrives in the space between introspection and catharsis, where subtle details become as impactful as the heaviest climaxes, and listeners are taken on a journey that is as visceral as it is profound. FOR FANS OF Caspian * Russian Circles * If These Trees Could Talk * Pelican * Toundra

TIM HECKER’s latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality.

Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine.

While the title of the piece “Hatred of Music” might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didn't at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Heckerʼs continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears.

This work is a significant contribution to Hecker's oeuvre, one which spans over ten years of musical production. Ravedeath is an enigmatic document of beauty and force. The album was recorded mostly over the period of one day in July of 2010. Iceland-based musician Ben Frost assisted with the engineering and performs on this recording.

RECEIVED AN 8.6 BEST NEW MUSIC RATING FROM PITCHFORK.

Across the past decade, KAS has established herself as a unique voice in experimental electronic music, a composer and synthesist whose work dissolves the boundaries between ambient electronica, contemporary classical, composition, and immersive sound design. Her new album “Ruin: It’s Not Just Music” arrives with a distinctive gravitational pull. The record moves with greater physical force, placing rhythm and impact at the centre of its architecture, revealing a more confrontational and embodied dimension of KAS’s musical language.
The first single “Ruin” arrives May 22nd, with the full album released October 2nd via SOMEONE SPECIAL the new label co-founded by KAS.
Where much of KAS’s earlier work explored harmonic environments, the forthcoming album is built around tension and release. Inspired by the sound of drum and bass, breakbeats fracture through dense fields of synthesis, percussive patterns and her signature melodic fragments – motions that feel closer to the kinetic language of club music than the meditative spaces often associated with her past catalogue. The result is a body of work that feels both recognisably hers and newly charged, music that moves through the body as insistently as it engages the mind.
For listeners who first encountered KAS through the glowing synthesis of “Ears” (2016) or the intricate experimental pop of “The Kid” (2017), this direction may feel initially surprising, yet the shift has been quietly unfolding across the past several years. KAS’s practice has steadily expanded beyond the expectations placed upon experimental electronic artists, moving between orchestral composition, audiovisual installations, film scoring, and large-scale commissions while retaining the unmistakable sonic signature that defines her work.
The 2022 albums “I Could Be Your Dog / I Could Be Your Moon” (2022) and “Let’s Turn It Into Sound” (2022) explored a deeply immersive approach to composition, expanded her reputation and instinct for constructing detailed sonic ecosystems while continuing to blur the lines between experimental electronics and contemporary pop structures. KAS’s most recent output has continued to widen that field including the rhythm oriented electronic album “Gush” (2025) and her return to more orchestral roots with “Thoughts on the Future” (2025). Together these releases underscored the breadth of her practice.
Her prolific collaborators and creative partners have ranged from Patti Smith and Suzanne Ciani to Danny Elfman, Tycho, Glass Beams, RY X, Caribou, Four Tet, Reggie Watts, and Max Richter, while her compositions have appeared in projects with Apple, Chanel, Meow Wolf, the BBC Orchestra, and major film and television productions.
On “Ruin: It’s Not Just Music”, that vocabulary becomes more kinetic than ever before. The record draws energy from jungle, drum and bass, and dance-floor focused electronic music while retaining the intricate synthesis and tonal curiosity that have defined KAS’s work from the beginning. The result is a record that feels equally at home within club culture, contemporary composition, and the experimental spaces that have long championed her artistry.
On May 27th KAS will present a major performance at London’s Barbican Centre alongside the London Contemporary Orchestra, marking the ten-year anniversary of her landmark album Ears. The evening will trace the arc of her creative evolution while also introducing material from the new album.

The “Kisses at Midnight” remix is an explosion of pure energy, designed for those who experience music directly on their skin. The track stands out for its rich sound design of open, sharp, and percussive sounds, capable of filling the room and creating a magnetic atmosphere from the very first seconds—thanks in no small part to the high-quality original sounds that define its sonic texture.

The real driving force of the track is its driving, arpeggiated rhythm: a continuous, hypnotic flow that doesn’t let you go for a single second, sweeping the listener into a non-stop journey from start to finish.

A physical and overwhelming track that hits you straight in the chest, giving no respite to anyone who wants to feel like an active part of the dancefloor.

– INCOGNITO

There are sounds that transcend time, capable of evoking entire worlds without needing any introduction. “Incognito” is exactly that: a visceral and modern tribute to the golden years of Italian progressive techno—an era that rewrote the rules of global clubbing.

The beating heart of the track lies in its hypnotic power. From the very first beats, you are captured by a perfect interplay of tight percussive rhythms and magnetic arpeggios, elements engineered to lock the listener to the groove and never let go. It is a continuous evolution, a sonic flow that destabilizes and fascinates, carrying us on a unique, mental journey.

Angelo Bass is an Italian DJ and producer known for his seamless blend of sophisticated electronica, house, and techno. After rising as a resident for the Push collective, he has graced the decks of top-tier clubs like Cocoricò, Sankeys Ibiza, and Veniceberg Verona. His production footprint is equally strong, featuring the highly supported “Drawn to the Floor EP” (Trend Records), his latest “Raw Luv EP” (Sengiley Wax), and key releases on Less Is More and Blackboard. Currently based in Ibiza, Angelo balances international club gigs with his role as an instructor at Accademia Italiana DJ.