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We are delighted to welcome back one of our most cherished artists, Life Recorder, for the third instalment of his remarkable Time Moods series on Visions Recordings.

This latest release delivers four vibrant and immersive tracks, blending deep techno textures with refined grooves, another strong statement in the series.

Far from the hype, French DJ and producer Kriss, aka Life Recorder, has been steadily shaping a distinctive sonic identity over the years. Deeply influenced by the heritage of Detroit and Chicago’s house and techno scenes, his sound travels effortlessly across genres while remaining rooted in soulful depth.

Born in the French suburbs of Geneva and now based in Marseille, he began his journey in the 1990s, connecting with music through record shops, DJing, and the evolving club culture of the time.
With this third chapter of Time Moods, Life Recorder continues to craft a timeless and introspective musical narrative.

Alex and Stephane Attias

Anting brings to vinyl the natural evolution of a project born on Bandcamp: a release built around honest audio and the human connection between the artists involved. It also gives a clear view into Alessio Landini’s musical universe, tied together by one thread: intense rhythms, hypnotic spaces, and raw analog textures, with a subtle nod to organic and traditional tones, all built for the sound system.

With contributions from Ketch and Uväll, the release opens up the palette while keeping it tight and coherent: a physical record that hits in the club and holds up for deep listening.

Producer duo Crossroads is back with another track featuring the talented young singer Cler. This time, they’re taking on a huge classic originally by Grover Washington Jr. and Bill Withers. 'Just The Two Of Us'—a soul classic that’s been loved across three generations—gets a fresh update here, perfectly matching today’s modern soul sound. And once again, Cler delivers goosebumps with her vocals, bringing a seamless mix of simplicity and passion to an timeless hit.

We are in-between again: FELT founder Fergus Jones surfaces on his own label for the first time with this dreamy, dubby pair of introspective tracks featuring the hazy, elegiac vocals of Thomas Bush, back on FELT after 2023's split cassette with Princess Diana of Wales. The results of a three-day studio bender in Copenhagen, Bush's entrancing vocals gesture towards the unchangeable past and unknowable future, creating a vital, pumping circulatory system of sound, further supported by the saxophone of Italian-Danish artist Francesca Buratelli and the (vinyl debut) of New York's Yumi with a notable interjection on "Untitled (Mix 1)”.



Written, produced and mixed by Fergus Jones & Thomas Bush

Saxophone on Untitled (Mix 1) by Francesca Burattelli

Additional vocals on Untitled (Mix 1) by Yumiko Mannarelli

Mastered by Amir Shoat

Following last year's ''Magic Overlooked'' EP, DJ AGITATED returns to the Dolly TS series. ''Horses of Volcanoes and the Moon'' sounds as big as its title. Frantic vocal loops, deep dub stabs, fast paced strings and funky basslines, sky is the limit! DJ AGITATED delivers beautiful techno for the soul yet again.

Tar Hallow label boss Thanos Hana brings his hardware-heavy industrial grit to the Dolly TS series with 'Sliced Glitter, No Shampoo'. This four-track EP strips techno to its rusted core, fusing obsessive machine-funk with the energy of the Rotterdam sound. Driven by hammering rhythms and metallic synthesis, these 4 tracks are a masterclass in raw techno-realness!

With World Beats Vol. 3, Lello Di Franco recruits a powerhouse team of remixers known for their dancefloor instinct—featuring Gerd Janson, Johannes Albert, Ben Hixon, and Gerd. Together, they preserve the cosmopolitan, percussive pulse of the original tracks while elevating them into peak-time club anthems. This masterfully crafted remix EP breathes new life into the project through diverse yet seamlessly cohesive interpretations. A must-listen for lovers of sophisticated house, nu-disco, and forward-thinking global sounds.

Lorenzo Dada makes his first appearance on his own label, Romance a record label dedicated to romantic, 90s-inspired house music.

The release features three original tracks, including Fantastic Love, an iconic track for SOUND, capturing the signature vibe and identity of the new label.

Ethos Records returns with it’s 4th release. Chicago legend Specter delivers a deeply immersive EP, while maintaining his signature sound. 4 tracks that reveal themselves gradually creating a hypnotic flow from the beginning to end. The release will be a limited pressing with each record featuring a hand-stamped number on the label.

Code Zero lands on Dream Nation imprint. This three-tracker EP is the kind of record that appeals most to fans of the late-1990s and early-2000s underground European sound rather.

LIMITED PRESSING OF 100 COPIES

Orcas Island began as a spontaneous moment, a sudden burst of post-punk electronic inspiration driven by a desire for freedom in music: to move beyond genre, to create and manipulate sound, to experiment, and to embrace the unconventional.

Italian sound artist Giulio Aldinucci returns with his 5th album on Karlrecords: "Materia" is unsurprisingly a truly masterfully composed and sound-designed ambient masterpiece that adds perfectly to a series of critically acclaimed albums like “Disappearing In A Mirror” (2018) or “Shards Of Distant Times” – some of which made it onto several year’s best lists.

Giulio Aldinucci is an Italian composer and sound artist from Siena, Italy. His work focuses on ambient and experimental music, blending field recordings, electronic processing, and acoustic elements. Active since the early 2000s, he has released several solo albums on international labels including Karlrecords, Home Normal, and 99chants. His compositions often explore themes of memory, perception, and the relationship between sound and place.

Aldinucci's music is characterized by immersive, multilayered textures and meticulous attention to sonic detail. He constructs expansive soundscapes by integrating processed environmental recordings, choral elements, instrumental timbres, and subtle harmonic shifts. His style draws from both the aesthetics of contemporary ambient and the techniques of electroacoustic music, resulting in works that are at once atmospheric and conceptually grounded. The interplay between organic and synthetic sound sources is central to his approach, blurring the boundaries between the natural world and the constructed sonic environment.

His works have been presented at international festivals. He has also created art installations and multidisciplinary performances. In addition to his solo output, Aldinucci has collaborated with a wide range of musicians and artists, developing projects that intersect sound art, composition, and performance.

Aldinucci about "Materia": "Materia focuses on the idea of sound as a matter, which can be shaped into complex forms by removing excess material from the sound mass.The album originates from the dichotomy between accumulation and subtraction, creating compositions out of frequency-dense audio material in order to unearth what is “hidden” inside the raw sound mass. Unlike sculpture, in music time can be matter too by shattering sounds into milliseconds andrecompose them with a different fragments order, going beyond the traditional notions of rhythm and duration.“

Battlefield sees No Ice Cream Sound knock on the door of the real foundations of Roots Reggae and Dancehall culture with a heavyweight, riddim-focused multi-vocalist release.

The release perfectly balances a bold and fresh contemporary sound while retaining the spirit; energy and rawness of the classic riddims we all know and love. Battlefield creates a sturdy platform for the carefully curated selection of vocalists to showcase their respective styles and patterns.

At the heart of the release is a unique vocal link-up that reflects the ever-growing globalisation of the Reggae Sound-system culture. Each of the men behind the microphones invites us to embark on a journey; connecting the dots on the map that represent the places they call home. We start in The South West of England and track across country to Southend-on-Sea; from here we make the mission all the way down to Madrid before taking a bearing on the North Star to guide us over hills and valleys to Scotland.

Where the riddim creates a constant, the vocals provide variety. Made by design the track allows them a spacious environment for the individual styles and messages to come across with precision and clarity.

Hailing from different backgrounds; accents of different origins, insights and perspectives drawn from their own stories all come together over one sound. This could be seen as an analogy of the ethos and motivation behind Reggae music itself. Reggae music as a genre tells the same story, Reggae artists tell their version of the story. Via this timeless format we are always building on the teachings of yesteryear while simultaneously learning something new. The gift that will forever more continue to give!

The story of each re-release begins with the original. In the late 90s, Uwe Zahn (Arovane), along with Robert Henke (Monolake) and Stefan Betke (Pole), began releasing music on Torsten Pröfrock’s (Dynamo) newly launched DIN label. This was a very inconspicuous undertaking, but fans of the flourishing IDM, glitch, and constantly evolving abstract techno genres quickly picked up on the quality of sound coming out of Germany. After a few successful EPs, Zahn began working on his debut full-length, Atol Scrap. The release was a success, at least in the underground circles, where followers of the melodic harmonies, stuttering off-beat rhythms, and, most importantly, advanced sound design feverishly consumed the imprint’s output. There was only one thing missing – the album was never pressed on vinyl, and for decades remained in the digital domain. The fans, of course, inquired. There were multiple offers on the table, but Zahn retained control until he was assured that it was properly attained. “I thought of taking everything into my own hands and releasing the record myself,” says Zahn, “but at the end of last year, Matthias from Keplar asked me to re-release Atol Scrap on vinyl.” The label and its owner revolve in the Morr Music universe, and so it made sense for Zahn to trust the platform to treat the record right.

Listening to Atol Scrap over twenty years later it is inane not to admit how well it has held up. Where other genres clearly aged, becoming stale, bland, and dull, the music on eleven tasty tracks still keeps the neurons tickled with each note. More than an echo of the past, the bottled sound truly has matured. Many of the newly evolving techniques are recognizable on the album. “I created the digital artifacts with a digital multi-track recorder, the Fostex D80,” recalls Zahn. “The thing had a scrub wheel with which I could achieve wonderful glitch effects by winding through the audio data. I have sampled and further processed these artifacts.” And this approach is still embedded in Zahn’s sound design. “I still use my 24-track analog desk from Tascam to mix my audio. I love to use hardware synths and samplers. I’ve definitely built upon my studio experience in the 90s.” From this debut to the most recent output, Arovane’s sound has evolved to become more intricate, detailed, and pronounced. “My music has become much quieter and much slower. But that’s probably also due to the noise in the world.” And just as Atol Scrap reminds Zahn of the past, retaining charm preserved in a container traveling through time, it also jitters memories of long ago, when we were twenty years younger, less experienced, and bold. For me, among the many records of the time, this album held a special place in life, my heart, and many CD boxes moved across the world. And now I’m only happy to restock the vinyl space, where Atol Scrap belongs among the beloved records. Welcome home. - Mike Lazarev

Remastered and cut to vinyl by Kassian Troyer @ D&M. Cover art by Jim Kühnel based on a photograph by Uwe Zahn.

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.

Mining the rich seam between transcendental escapism and crushing physical pressure, Sciama delivers his first album for Samurai Music. Exploring an energetic pitch between half-time and full-tilt 170, the London-based producer sculpts brooding soundscapes of sheer peaks and deep pits, driven by unrelenting but light-footed forward motion and an imposing strain of sound design. As Sciama, Michael Watters has been marking out his exacting sound since 2019 with an assured run of albums on ASC's Auxiliary label. His second EP for Samurai — the Wave Interaction 12" released earlier this year — pointed to his current area of focus inspired by the teachings of electronic music pioneer Daphne Oram. Contemplating the relationship between precise electronic frequencies and human perception, Celetal Form now delivers the full findings of his exploration. Oram coined the term 'celetal' in her 1972 book An Individual Note of Music, Sound and Electronics, trying to sum up a connection between the celestial and electrical. It's this spiritual dimension contained within sound waves Watters is concerned with, and the shape of the music on Celetal Form follows suit. In an opening statement of abyssal ambience, 'Overload Into Silence' establishes an atmosphere that endures throughout the album. Caught between steely textures, vaporous reverb tails and subtle harmonic interactions, the glacial shift of the many layers under Watters' control reveals an intense amount of detail at play even before drums and bass come into play. From there on in, the intensity ramps up from one heavyweight stepper to the next. There is agile, brittle top-end percussion at work on the likes of 'Induced Resonance' and 'Consuming Pulse', perhaps the most closely connected to D&B, while 'Rational Echoes' and 'Scanning Waveband' deal in urgency and techno-coded tension. A half-time roll guides the huge kick drum undulations of 'No Panacea', and 'Celetal Emergence' opens up into more spacious surroundings to let the subtle microtonal inflections of the synth tones set a curious mood. The two 'Intermodulation' tracks bring Watters' exacting approach into sharp focus, pushing the drums back and foregrounding alien frequencies that coalesce into unfamiliar yet strangely uplifting forms. Throughout Celetal Form this uncanny sensation charges the music with a power that reaches beyond its immediate, surface level impact. This intentional reflection on Oram's visionary thinking charges the current sound of Sciama with energetic intrigue that stands apart and invites a mindful, maybe even spiritual, engagement.

For the label's latest, Oath is proud to present 'Honey Tangerine', the newest mini-album from producer extortionaire Olsvangèr, who serves up his signature blend of hyper-kinetic, ever-shifting dance music.

Olsvangèr's sound and musical journey are forever rooted in the liminal spaces that make up the broad-reaching and ever-shifting electronic music landscape, with his records consistently channeling that in-betweenness that imprints lasting impressions. A classically trained musician with a profound passion for house and techno, Olsvangèr's sonic palette is one of both broad and delicate brush strokes, applying an array of compelling motifs within amorphous arrangements that blend and blur perspectives. His records seek out the faraway fringes as much as focusing on the intensity found in the detail, creating cavernous soundscapes that are impeccably tuned and effortlessly free-flowing. Seemingly genreless, his records are anchored in all that is known and loved, yet due to the music's perspective situated at the intersectionality of electronica, a beautiful anticipation resides within every stanza of his tracks at what may come next. His musical language has found him releasing on the likes of Kalahari Oyster Cult, Hooj Choons and Craigie Knowes, and follows through within his imprint Tofistock, which has been pushing some of the most forward-thinking dance music of recent times.

'Honey Tangerine' touches upon the classic motifs of Olsvangèr's sound, and as always, the room for growth within the record's parameters remains truly endless. Over six tracks, Olsvangèr lays bare the directions of travel, with paths unravelling that feel well trodden yet with some that branch out towards new horizons. 'Source of Thought' opens up proceedings with a captivating ambience, where twinkling hues and lively tones paint the parameters of sound. The chuggy breaks that land deep within the mix drop in and out of view, allowing a deft balance between pure ambiance and rhythm to exchange dialogue between one another. 'In a Nutshell' shifts gears in atmosphere and energy, with all eyes placed upon the club. The shifting rhythm section lifts the acidic melodic features up above, with driving bass notes and a euphoric vocal like lead linking the depths to the heavens. 'Tulpa Nine' swings into heads-down territory, where the drums swing slow and the throbbing bass hits heavy. The auto-tune vocal line up above creates an atmosphere of hazy, smoke-filled rooms, where the party yearns for downtime in anticipation of the next shift in energy.

'Sunrise on the Lips' gives over further chill out room vibrations, where the lights remain low, and smiles reside all around. The enriching drums provide the basis for sitars and glossy keys to glide across the top ends, with the mind invited to dip deep within this enthralling ensemble. 'Zoom It Out' provides the release into the room, with the ante upped. A breaky house leaning number, this cut grooves through its chiming melodic section and groove-laden bass line, with the polyrhythmic drumming pattern doing much to keep the energy residing very high indeed. The record is wrapped up with 'Some Air', which gives over one final jaunt through the airy, slowed-down slipstreams. A wondrous beat is complemented by melodic elements that chime, absorb and quiver, glowing through the night with such charm and feel. An engrossing composition that demonstrates what Olsvangèr is all about - a crafter of sound, where adventure is sought and found, never wavering but curating new connections, feelings, and tones, with an eye on what might come next.

Whether softly undulating or boundlessly expressive, Olsvangèr's music remains a beautiful enigma that serves up both the glorious knowns and the captivating unknowns - 'Honey Tangerine' is yet another chapter in his glorious discography.

Coil’s 17-minute soundtrack for »How to Destroy Angels«, performed on January 19, 1984: ritual music ›for the accumulation of male sexual energy‹, structured around magickal and numerological concepts.

Throughout history man has made and used music for two distinct and separate purposes. In recent years, particularly since the advent of sound recording, the most popular use of music has been for entertainment - the temporary amusement and distraction of as large a number as possible. As a consequence, many people tend to overlook its more fundamental and ancient use as a tool for affecting man's body and spirit. The many varieties of religious music from around the world contain a vast quantity of clues to the way in which sound can affect the physical and mental state of the serious listener, yet many find their associations with religion itself too difficult a stigma to overlook in their appreciation of the sound and its potential, for its own sake.

On this record, hopefully the first in a series, we have tried to produce sound which has a real, practical and beneficial power in this modern Era. Specifically, it is intended as an accumulator of male sexual energy. Although we make neither claims nor rules for its use, we do suggest that for maximum potency it should only be played in circumstances that exclusively male and/or onanistic in nature. What these are is entirely up to you.

The execution of the piece was structured around concepts we felt would work for us - in this case magickal and numerological rather than conventionally musical in form. One image or symbol which we drew upon that may be useful to bear in mind is that of Mars, often indicated by the male symbol.

Should this music have any power, over and above the banal and transitory titillation achieved by most records available now, it is a positive and beneficial power to be used and controlled by the listener, as he desires.

Coil’s 17-minute soundtrack for »How to Destroy Angels«, performed on January 19, 1984: ritual music ›for the accumulation of male sexual energy‹, structured around magickal and numerological concepts.

Throughout history man has made and used music for two distinct and separate purposes. In recent years, particularly since the advent of sound recording, the most popular use of music has been for entertainment - the temporary amusement and distraction of as large a number as possible. As a consequence, many people tend to overlook its more fundamental and ancient use as a tool for affecting man's body and spirit. The many varieties of religious music from around the world contain a vast quantity of clues to the way in which sound can affect the physical and mental state of the serious listener, yet many find their associations with religion itself too difficult a stigma to overlook in their appreciation of the sound and its potential, for its own sake.

On this record, hopefully the first in a series, we have tried to produce sound which has a real, practical and beneficial power in this modern Era. Specifically, it is intended as an accumulator of male sexual energy. Although we make neither claims nor rules for its use, we do suggest that for maximum potency it should only be played in circumstances that exclusively male and/or onanistic in nature. What these are is entirely up to you.

The execution of the piece was structured around concepts we felt would work for us - in this case magickal and numerological rather than conventionally musical in form. One image or symbol which we drew upon that may be useful to bear in mind is that of Mars, often indicated by the male symbol.

Should this music have any power, over and above the banal and transitory titillation achieved by most records available now, it is a positive and beneficial power to be used and controlled by the listener, as he desires.

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

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

Carl Cox drags Renegade Soundwave’s “The Phantom” back onto the dancefloor with a fierce, high-pressure rewire built for peak-time systems. Running at 130BPM, the mix combines pounding techno kicks, snapping breakbeats and metallic percussion with dark, rolling bass and flashes of rave-era synth energy. Chopped vocal chants and distorted samples cut through the rhythm, steadily increasing the tension before the track erupts into a relentless, warehouse-sized groove. Raw, physical and deliberately uncompromising, it preserves the original’s rebellious industrial spirit while giving it the weight, momentum and modern production power of a full-blooded Carl Cox club weapon.

Mr C breaks into Renegade Soundwave’s “Probably a Robbery” and escapes with a hypnotic, acid-soaked rewire designed for the darker reaches of the dancefloor. Opening with clipped percussion and shadowy vocal fragments, the track gradually locks into a muscular groove as a snarling 303 line twists, bubbles and mutates across the mix. Layers of machine-funk rhythm, metallic drums and psychedelic electronics steadily intensify, creating a raw tension that rarely lets up. Spacious enough to draw DJs deep into the journey but relentlessly physical when it hits full force, this is classic British electronic mischief rebuilt as a tripped-out, late-night acid workout.

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 Bratislava-based band 52 Hertz Whale release their new album Present Sense Impression in a collaboration of the labels Weltschmerzen and Full Moon Forum.

Three years since their album I've Met a Lot of People, the band brings forth a lot of new ideas, finding a new resonant space, and utilising the fierceness // savageness of their live shows, in an intimate stare at contemporary guitar music.

52 Hertz Whale is a band well known in the Central European music context. Their ferocious sound, mixing the intensity of post-punk, heavy guitar wails, and melancholic // stark vocals of Dominik Prok has been tearing down the fixtures of many festivals and venues, all the while being a great example of a band driving at 200mph nonstop. On Present Sense Impression, the band, composed of Dominik Prok, Dominik Fabian, Patrik Nagy, Tomáš Tabiš and Adrián Krišák, have arrived at a record full of manifold manifestations of their live sound, but at times recalling the more marginal waves of 80s pop // rock sound. Resolute drums, heavyweight guitar and bass riffs now deem closer to the lightness of early ethereal darkwave, just to indulge in the classic melancholic heaviness they are known for only seconds after.

Some of the songs have been produced by "Prague's favorite rock'n'roll enfant terrible" Lazer Viking as well as Pulp Studio's Jakub Hríbik, and one features a special guest - the cemballo virtuoso Marcel Comendant. The traditionally stunning artwork was created by the accomplished Martin Mesaroš.

Present Sense Impression is the 20th album released under the Slovak romantic // experimental label Weltschmerzen focused on emotionally hypercharged, humanely intertwined, and acutely sounding contemporary music. This time in collaboration with the czech label Full Moon Forum. It releases August 26th on limited edition baby pink, standard edition black vinyl and on all streaming platforms.

The creation and release of this record have been supported using public funding by the Slovak Arts Council, and SOZA. Fullmoon Forum project was supported by the Ministry of Culture of the Czech Republic.

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.

First Principles marks the debut release on Groove Disciples Series, a new DJ-focused vinyl catalogue from 80147, created as a natural extension of the Groove Disciples Podcast. While the podcast has connected DJs and selectors from local scenes across Europe through guest mixes and conversations, the new series continues that mission through carefully curated vinyl releases from artists who are both DJs and producers.

Opening the catalogue, Bloody G delivers four dancefloor-oriented cuts that explore the space between deep house and Detroit-inspired techno edges. From the melodic and melanchonic "Message in the Sound" to the driving "Regroup Reclaim Rebuild" and "Machine Funk" with a reinterpretation by Southbound Sounds, the EP is built with club functionality at its core, favouring groove, analogue warmth and musical restraint over passing trends.

First Principles establishes the philosophy behind the series: music first, DJs at the centre, and vinyl as the medium that continues to connect local clubbing scenes through music, collaboration and community.

Plush ‘60s Pop-Psych Soundtrack With DVD Of Feature Film! In 1967, the Cyrkle recorded The Minx, an intriguing soundtrack laden with three-part harmonies and breezy arrangements. This legitimate, white vinyl reissue (created from the master reels, with full participation of the band members) includes bonus tracks and extensive notes, and also features a DVD with the original, outrageous film!

Ronen Sabo aka Nenor has dropped his rough and ready blends of soul and house on labels such as Moodymann's Mahogani and UK powerhouse Defected. Having already found his way into top-level record bags with the first volume of this series on Fossils, he is now back on new label Mumtak with more fully re-imagined interpretations. 'Klock It' is a humid and steamy house sound with a throbbing low end and exotic vocals, while 'Clayers' rides on lovely claps with breezy vocal sounds, ensuring a smooth cruising vibe. 'To Be Free' is a jazzy laced and late night sound with dusty drums and scruffy samples adding up to something loveably rough around the edges and 'El Gato' then brings a more freewheeling sound with big percussive hints and darker bass.

2026 Repress

'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.

While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.

This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”

The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.

Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”

The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.

RIYL Alessandro Cortini, William Basinski, The Caretaker

ATA00BS will be released in a Number Stamped Edition, with Full Cover Art made by Pepe and will be Sealed / Shrinkwrapped.

'Keep it simple' 103636;"Reissue- Tracklist A1. Unknown A2. Pain Is Full B1. Damaged Memory B2. Damaged Memory ( Iori Remix ) Shortinfo: Roberto Bosco has selected Kiny's music to better prepare his first 12, consisting of four tracks, named 'Damaged Memory'.The track Unknown (A1) leads off the dance of the release on Last Drop Records imprint. It's a proper exploration in an unknown sonic territory to most of the people, and also a difficult element to make out for those who are novice to the visonary component in the musical poetic of Kiny. The track starts with rounds of recurring sirens, almost deafening, framed by dark and ghostly noises. Something not easily identifiable, ambiguous and unknown, as the title itself says, is perceptible in its sound. All this helps to shape a bad presage that fades away into the mystery. On the same side we find Pain Is Full (A2) that, according to the producer, was born in a moment of pain which can be overcome only by fighting. In fact, the track is characterized by a more combative and insistent tone, made up by the sound of snare and tom entering since the start and determining an atmosphere of contrast able to shake the listener until the end. Shouts of encouragement suggest an initiation rite in which there is struggle for survival. The titletrack, Damaged Memory (B1) has more quiet register with less ghostly vocals, perceived at times, unlike the previous tracks. The sounds have a vanished effect, such as when you create a halo on a white sheet with the dust of a pencil just sharpened. You will hear a sort of democracy among the sounds held together by the voice, a metaphor of a damaged memory, as the title itself recite, that always makes the same process till the end: it commences by recalling but then forgets. Last, is the version of the producer Iori, Damaged Memory (B2), on the same side.

While composing the music for The Juniper Tree, Hirano drew on her own memories of touring Iceland, which included a stop at a waterfall featured in the film and rendered in sound on “Mother’s Path.” Folktales, like the origins of The Juniper Tree, are often attempts to contend with humans’ place in the natural world, with all its mysteries and intricacies, and both the film and Hirano’s soundtrack draw their sense of breathless wonder in part from the sensation of being engulfed by one’s environment. Margit, played by Björk, possesses a sublime sensitivity to her environment that allows her to receive messages from her mother, who was murdered for their shared inheritance of witchcraft. Hirano captures the relationship between the transcendental awe that is felt as supernatural and the private feelings of being immersed in that experience, creating a musical dialogue between the self and what lies beyond.

In the final sentences of her liner notes describing the film’s philosophical and feminist throughlines, Anna Bogutskaya says, “what we call Margit’s witchcraft is maybe just her willingness to listen.” This is the magic of music, and Hirano composes with an alchemist’s pen. Just as Keene seems to break down barriers between binary poles, Hirano uses both electronic and acoustic means to communicate the film’s emotive cues, uniting approaches she has explored under her own name and the alias MimiCof. There is an understanding that stillness can be understood as peaceful or foreboding, that dissonance and consonance are contextual, that efforts to protect one’s own kin can lead to tragic ends. At the film’s end we see Margit enthralled with birdsong, understanding it as something deeper, a connection to those she has lost. Through sound, we understand what lies beyond sight, beyond convention, and with this new soundtrack we hear the story anew.

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

The Return of Cosmic Ritual

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

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

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

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

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

It is music for the inner traveler.

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

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

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

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

UK Garage has ridden a new wave of hype and exposure over the last few years. Artists like Sammy Virji and Interplanetary Criminal have crossed over to the mainstream, while dancefloors across the world have shaken to a switched-up version of the sound that defined the UK underground either side of the millenium.

Hidden beneath a pink balaclava, the mysterious DJ Jackum has lurked this rejuvenated scene while dropping some of the most defining bangers of the period. Often surfacing in the form of moody edits released on Soundcloud, Jackum productions inevitably demolish dancefloors whenever dropped, as they frequently are in the sets of Virji and the other big guns.

Landing on Hotflush, a storied label of UK underground music, ‘Context’ is his most substantial work to date. Six tracks covering the full spectrum of the Jackum sound, from 4/4 heaters to dubstep-adjacent eyes-down bass pressure.

And in the form of opening track ‘Floo’, Jackum spreads his wings into a place that transcends the narrow confines of genre definition. From the UKG building blocks of bass, drive, cut-up vocals, and melody, the track emerges as something both familiar and wholly unexpected - the mark of a producer at the peak of their powers.

‘Clip Empty’ is another highlight of this standout EP. Showing a flair for the cinematic, a breakdown of militaristic snares gives way to a trademark rolling bassline and earworm vocals.

Away from the 4/4 bangers, ‘Take Your Body Higher’ is a guaranteed half-step rewind, while ‘Step Up’ recalls memories of smokey Plastic People sessions of the mid-2000s.

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.

Rome, late afternoon, 1974. The light comes in over the colossal hills, the way it only does for an hour before the city forgives itself for the day's noise. Axefield is on an urgent quest to create cinema in the form of sound as a romantic alternative to disposable tools. He is looking for a sound so effortless he is not sure it can truly exist, but only be felt - somewhere between a film score, a heartbeat and a late night dinner at his favourite trattoria.

Ostuni Bound, NOW! is the debut album from Amsterdam-based electronic artist and composer Axefield, bringing club-heavy bass music together with the drama and romance of 70s Italian cinema. The narrative and emotions within the record stem from a romantic setting in Southern Italy that unexpectedly turned violent, forcing Axefield to flee the city after receiving the death threat "non provocare morte".

At its heart is the belief that romanticising life can lead us towards deeper human meaning, offering a different route from the hyper-capitalist pursuit of efficiency that increasingly shapes how we live and create. Throughout the album, Axefield worked through three characters representing innocence, control and destruction, using each as a framework for decisions in production, composition and mixing.

The album features Amsterdam-based rising UKG talent DANN and Johannesburg-based Kamohelo, frontman of Swedish electronic group Off The Meds. It's all starting to feel like cinematic time travel in which beauty is reintroduced in the realm of contemporary dance.

Released on Intercept alongside a beautifully crafted vinyl edition, Ostuni Bound, NOW! feels like the soundtrack to a film that was never shot. Somewhere behind him, a projector he cannot see begins to turn, playing a film for an audience that has not arrived yet.

As they arrive, he is the one who ultimately presses play.

And just like that, Ostuni Bound, NOW! Begins where Rome has always begun: beyond function and beauty and all that lingers in between.

Madelyn Byrd returns to Glasgow’s Somewhere Press with a hazed set of weightless soundscapes. »Night Rider« opens in widescreen with the chirp of cicadas dancing across a desert landscape, before Shiroishi’s saxophone eventually cuts through the dark like neon. The story Byrd tells is close to their heart: they spent their teenage years in the Sonoran Desert, the vast subtropical expanse spanning parts of Arizona, California, and Mexico. Its seemingly alien landscape — pocked with giant, tree-like cacti and looming rocky outcrops — is lodged in the cultural memory, a quality Byrd draws on as they slowly reveal their poetic narrative.

The album plays like a road movie of sorts, moving through Byrd’s memories and setting them to very different rhythms. Clattering drums emerge on »Of Nature, Of Bodies, Of Dreams«, while Byrd’s soft tones, processed to sound almost otherworldly, glide gently across the metallic clangs. Each track highlights a form of movement: there is the microscopic, insectoid crunch of »Imprint«, where guitar prangs meet Shiroishi’s spirited runs, while »Into Sonoran Pool« creates motion from the atmosphere itself, recreating the thick desert air with shimmering electrical currents and psychedelic processes.

At this point, the album begins to echo Robert Ashley’s late-period theatrical work: compositions that broke with familiar formats, juxtaposing dialogue with knowingly experimental orchestral flourishes. Byrd strikes a similar note through a fusion of poetry, sound design, choral music, and chiming, listless ambient elements that also recall Harold Budd. Budd grew up in the Mojave Desert, which borders the Sonoran, creating an eerie parallel with the moods he conjured throughout his long career.

Byrd finds a similarly aesthetic link to the West Coast landscape, referencing the history of experimental music while establishing their own voice. As the album rides into the sunset with a roar of engines, they offer a distinct vision of pop: »What Is, What Was« integrates a chugging break and ketamised vocal hook, while the finale, »In Perfume, Remember«, lands as a James K-like heartmelter.

On Chuck Strangers’ latest opus, Glory Of The King’s Hand, he raps, “I still rap from the perspective of my government name…” The stage name “Chuck Strangers” is, of course, an alias but it’s not necessarily an alter ego. For the man born Che Jessamy, his rap moniker isn’t some over-the-top rock star persona contrived for public consumption, it’s just a name. What you hear on his records is really who he is - a heavy-tongued griot from East Flatbush, Brooklyn with a gift for vivid stream-of-consciousness storytelling. His bars are imbued with the wisdom he’s gained in his lifetime - especially in the 14 years since he first made his debut with the Pro Era collective.


The elaborate title of his new album, Glory Of The King’s Hand, speaks to his gratitude for the hand that life’s dealt him, which is a pretty good one. At age 34, he does what he loves professionally and does it on his own terms. That’s something to be thankful for.


Glory Of The King’s Hand, not only represents Chuck’s matured attiGlory attitude but also his matured sound. Key to this refined approach was tude collaboration. Chuck is a proficient beatmaker in his own right as evidenced by his production for himself and artists like Joey Baevidenced Badass, and Boldy James. But this time around Chuck chose to be a dass, producer in the Quincy Jones sense of the word, bringing together vocalists, producers, and musicians instead of handling all of the beats and rhymes himself. d Up Reprise


The list of contributing producers is a who’s who of underground sound scientists including The Alchemist, Animoss, Theravada, Kensound Kenny Segal, Preservation, Child Actor, and Morriarchi.

R.M.F.C. sound like? Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band. Indulge me. If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking. Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band. Few bands manage to sound like all 3 records, but R.M.F.C. are a Rock Music Fan Club...

Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.

‘Bands like Devo, The Fall, and The Birthday Party have set the way for this type of post-punk rock (all in their own way). Surely, also, the rock scenes of the past fifteen years in Australia have also been influential. Thinking of bands like Royal Headache, Dick Diver, and Eddy Current Suppression Ring, there’s even been a fairly recent tradition of expanding styles of rock and roll (let alone the bigger, famous rock-centered acts). The Sydney based R.M.F.C., and the scene (or friend circle) from which it’s emerging, is carrying a torch of rock music which has the potential of a wider appeal.’ - POST-TRASH

R.M.F.C. sound like? Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band. Indulge me. If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking. Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band. Few bands manage to sound like all 3 records, but R.M.F.C. are a Rock Music Fan Club...

Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.

‘Bands like Devo, The Fall, and The Birthday Party have set the way for this type of post-punk rock (all in their own way). Surely, also, the rock scenes of the past fifteen years in Australia have also been influential. Thinking of bands like Royal Headache, Dick Diver, and Eddy Current Suppression Ring, there’s even been a fairly recent tradition of expanding styles of rock and roll (let alone the bigger, famous rock-centered acts). The Sydney based R.M.F.C., and the scene (or friend circle) from which it’s emerging, is carrying a torch of rock music which has the potential of a wider appeal.’ - POST-TRASH

Uncompromising Italian DJ/producer The Southern makes his vinyl debut on Mutual Rytm's sub-label, Spectra, with remixes from Alarico, Temudo and Sciahri. An EP marking an impressive label debut, Carmine Portarulo, aka The Southern, lands on Mutual Rytm’s sub- label Spectra with a powerful showcase of his much-loved sound. With the lead track featuring as one of label head SHDW's most requested IDs of the year so far, and packaged alongside outstanding remixes by close label associates Alarico, Temudo and Sciahri, the EP comes having established himself with a sound rooted in old school value and pure techno, favouring energy and authenticity over hype. The track’s backstory comes from the moment Carmine and his partner found out they were expecting a child and went for their first ultrasound appointment. Overwhelmed by the emotion of the moment and the beauty of what nature is capable of, he returned home and poured those feelings into the music. The result, ‘Ultrasound’, is an anthemic, punchy techno cut with euphoric energy rising up through the synths and its catchy lead melody. Joyful melodies sparkle amid vocal groans, adding a raw emotional pull as the warm, driving drums march on. Berlin-based artist Alarico is the first to remix on his return to the label, and his ‘Sad Mix’ has a more melancholic mood, with dark chords and tightly programmed drums that bring lo-key funk. Hayes Collective founder Temudo also returns and flips the vibe on his ‘Neuro Interpretation’ with a more psyched-out, twisted tune featuring trippy synths and booming drums for peak-time impact. Italo-Iranian Sublunar Records head Sciahri then drops his trance- inducing, hypotonic ‘Tunnel Vision Mix’, followed by two digital bonuses: ‘The Stripped Mix’, a bouncy workout with futuristic melodies, and Temudo’s ‘Neuro Interpretation 2’, which is raw, textured, and dark.

[GER Seit ihrer Gründung im Jahr 2014 haben sich These Wicked Rivers zu einer der fesselndsten Bands der aktuellen Rock-Revivals in Großbritannien entwickelt. Die aus Derby stammende Gruppe schöpft aus dem reichen Erbe von Rocklegenden und Blues-Größen und hat sich mit ihrem unverwechselbaren, vom Blues geprägten modernen Rock einen Namen gemacht. Dank ihrer Live-Auftritte, die oft eine fast spirituelle Tiefe erreichen, und ihres zeitlosen Songwritings hat die Band in den letzten Jahren enorm an Fahrt aufgenommen. Ausverkaufte Konzerte in Großbritannien, den Niederlanden, Frankreich und Deutschland sowie der große Kritikererfolg ihres zweiten Studioalbums "Force of Nature" (Platz 3 der UK-Rockcharts) haben ihren Ruf als Live-Act, den man unbedingt gesehen haben muss, gefestigt. Das Jahr 2026 verspricht ein Meilenstein für das Quintett zu werden: Im Herbst erscheint ihr mit Spannung erwartetes drittes Album "Fire and Folklore". Aufgenommen wurde das Werk in der Heimatstadt der Band, Belper in Derbyshire, im Heimstudio von Andy Sneap. Unter der Regie des Grammy-Preisträgers Sneap (Judas Priest, Saxon, Megadeth) und Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) ist das bisher ausgereifteste Album der Band entstanden. "Fire and Folklore" geht über den typischen ,Wizard-Blues-Rock"-Sound hinaus und erschließt neue klangliche Territorien; dabei werden Country-Einflüsse und Southern-Rock-Flair integriert, ohne den für die Band charakteristischen Groove und Soul zu verlieren. Zudem ist die aus Derby stammende Country-Hoffnung Kezia Gill als Gastmusikerin auf dem Album vertreten. Geliebt von einer rasant wachsenden Schaar von Fans und ausgestattet mit einem Album, das den Sprung auf die großen internationalen Bühnen anvisiert, stehen These Wicked Rivers bereit, neue Höhen zu erklimmen. Seid dabei, klingt klasse. CD mit zwei Bonustracks, LP als Purple oder Black Vinyl! Established in 2014, These Wicked Rivers have emerged as one of the UK's most compelling forces in the recent rock resurgence. Hailing from Derby and drawing influence from the well of rock legends and blues greats, the band have made quite an impact since their inception with their unique brand of blues-infused modern rock. With a reputation for soulful-bordering-on-spiritual live performances and timeless songcraft the band have built unstoppable momentum in recent years. Sold-out shows across the UK, the Netherlands, France and Germany have cemented their reputation as a must-see act, bolstered by the critical acclaim of their second studio album 'Force of Nature' (#3 UK Rock Chart). 2026 is set to mark a landmark chapter for the quintet, with their hotly-anticipated third album 'Fire and Folklore' set for release in autumn 2026. The record was recorded in the band's hometown of Belper in Derbyshire, at Andy Sneap's home studio. With the Grammy-winning Sneap (Judas Priest, Saxon, Megadeth) and Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) at the helm, it's the band 's most accomplished record to date. Expanding beyond their signature wizard-blues rock sound, Fire and Folklore pushes into new sonic territory, blending in shades of country and Southern spirit while retaining the groove and soul that defines the band. The record also features a special guest appearance from fellow Derby artist, country starlet Kezia Gill. Loved dearly by a rapidly growing "Family" of fans, and armed with a homegrown record with its sights set firmly on the global stage, These Wicked Rivers are poised to reach new heights. Jump on in and enjoy! CD contains two bonustracks, LP comes in Purple or Black Vinyl!