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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.

To kick off our 5th year party celebrations the label begins its new set of releases starting with the joined forces of Regal86 and IMOGEN. The artists contribute two tracks each to the four track vinyl alongside remixes of each other's work, meeting at sonic crossroads.

The EP journeys through rave nostalgia filled with warmth and hope for the future, recollecting some favourite memories of the dance floor.

The A side is fast, driving with a sense of longing for the Halcyon Days and the offline times of partying when things felt easier. The release opens with ‘One Night In 1992’, IMOGEN’s nostalgic ode to an earlier rave era, built around a vocal recollection of her mother’s experiences on the dancefloor in the 90’s. Raw, hazy and deeply personal, it sets the tone for a record rooted in memory while remaining firmly in the present. Regal86 follows with ‘Rush’, bringing a different energy to the record. Driven by rolling rhythms, playful movement and a strong sense of groove.

The B side takes a more optimistic turn looking into the future with dubby aquatic pads and euphoric breakdowns, carrying a feeling of forward motion. There is a lightness to the tracks, a sense of joy running beneath NC Station and keeping the momentum locked whilst turning inwards on the final track, IMOGEN’s ‘Midnight At Bret’ rounds out a release that moves naturally between nostalgia, propulsion and the shared language of the dance floor.

As the next release launches, IMOGEN takes wigs on tour for a five year special run of shows starting on release at Tresor for a two club take over following with further cities: London, Milan, Dublin and more.

"Things are looking better than ever for GENERATION STEEL! The quintet from Wetzlar/Germany, has reinvented itself on all fronts and is set to take the music world by storm with its upcoming third studio album, Steelmachine.

With the addition of guitar wizard and songwriter Thilo Herrmann - who made his debut in 1985 on the FAITHFUL BREATH classic “Skol” and has written heavy metal history throughout his career with RISK (including “Ratman”), RUNNING WILD (including “Black Hand Inn”, “Masquerade”), and GRAVE DIGGER (including “Ballads of a Hangman”) - bandleader and guitarist Jack the Riffer now has a living legend by his side.

There has also been a change behind the mic: from now on, Swedish vocalist Mike Stark - who currently sings for the Argentinian band FEANOR and the Swedish group STORMBURNER - is setting the tone. His powerful, high-pitched yet dynamic voice gives the new tracks an absolute seal of quality.
GENERATION STEEL stands for authentic, traditional, '80s-influenced heavy metal, combining the styles of ACCEPT and JUDAS PRIEST.

The ten neck-breaking tracks on the band's third full-length album were produced by Piet Sielck (IRON SAVIOR), who has previously refined classics by GAMMA RAY, GRAVE DIGGER, HEADHUNTER, STORMWARRIOR and BLIND GUARDIAN.
The cover artwork, designed by Gyula Havancsak (who has also created artworks for POWERWOLF, ACCEPT and BLIND GUARDIAN, among others), is equally eye-catching.

Anyone who loves honest, traditional German metal will quickly embrace “Steelmachine”, because the quintet not only takes us back to the '80s, but also shows just how timeless true metal is. Ten home runs, including the four singles “Steelmachine”, “Witches Cross”, “Wings of Fire” and “Fields of Pain”.
Stay Metal – Stay Steel!"

Last year Dave Charlesworth sent me loads of his DAT's and I spent days recording them. On one DAT the tracks were saved as TTR004 A and B. But I knew that Time Travel Records only had 3 releases. What were these mystery tunes??? Dave couldn't remember if they had been released or not, I was confident that they weren't but sought the help of The Oracle - Dave Birch. He said they hadn't been released on vinyl and that H20 appeared 20 years ago as an MP3 on a CDR Dave was selling.

The tracks were so good that I had to share them with you all - so check these out - originally made in 1993 and finally released in 2026! Enjoy :)

Following hot on the heels of the Frequency Damage EP, DJ Quest returns to Cyberfunk with Squeaks / Snake Style— a two-track release that dives deep into the unmistakable sound that made Quest’s productions stand out during the early 2000s.
Rather than simply recreating the past, both tracks tap directly into the DNA of the original Cyberfunk sound: rolling breakbeats, huge basslines, twisted analogue synths and the kind of distinctive production that became synonymous with DJ Quest at the height of the Bassline Breaks era.
Built around original analogue synth work throughout, Squeaks / Snake Style is a deliberate throwback to the raw, futuristic sound of the early 2000s, produced with the weight and clarity needed for today’s sound systems.
It’s classic Quest, strange noises, big bass, rolling drums and plenty of attitude.

A. Squeaks
Everything DJ Quest became known for rolled into one track. Squeaks is an unapologetic throwback to the classic Quest sound of the early 2000s, driven by heavyweight breaks, deep bass and original analogue synth work throughout.
Twisted electronic squeaks and evolving analogue sounds weave their way around the drums, giving the track that instantly recognisable combination of funk, darkness and futuristic weirdness that characterised so many of Quest’s early productions.
Raw, energetic and built firmly for the dancefloor, Squeaks takes the spirit of the original Bassline Breaks era and brings it straight back onto a modern sound system.
AA. Snake Style
On the flip, Snake Style takes the same analogue-driven approach but moves into deeper rolling territory.
A more hypnotic, heads-down breaks roller, the track develops around a heavyweight bass groove, rolling drums and constantly shifting analogue synth lines. There’s less emphasis on the immediate impact of the A-side and more on building a groove that locks into a DJ set and keeps moving.
Still unmistakably Quest, Snake Style combines the rawness and character of early-2000s breakbeat with modern low-end weight and production, proper rolling Cyberfunk business.
Special Vinyl Edition
Making this release particularly special for collectors, the 12” vinyl comes with an exclusive book showcasing the artwork from some of DJ Quest’s biggest and most memorable releases.
The book looks back through Quest’s extensive catalogue and the visual identity that accompanied the records, bringing together a selection of classic release artwork from across his career plus photo collages of memories made across his journey.
It turns Squeaks / Snake Style into more than just a new DJ Quest 12”, it’s also a celebration of the music, artwork and history surrounding one of the original pioneers of the Bassline Breaks sound.
For long-time followers it offers a piece of Quest history alongside two brand-new productions, while newer listeners get an introduction to the catalogue and imagery behind the sound

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….

The Lemonheads release a strictly limited edition 12” single on 21st September featuring three classic tracks on white vinyl. Lead cut is ‘Roky’, Evan Dando’s homage to the late, great outsider genius Roky Erickson (of garage psyche legends 13th Floor Elevator and much solo strangeness).


"If Roky Erickson had vanished from the face of the earth after The 13th Floor Elevators released their epochal debut single, ‘You're Gonna Miss Me’, in early 1966, in all likelihood he'd still be regarded as a legend among garage rock fanatics for his primal vocal wailing and feral harmonica work." AllMusic


‘Roky’ is Evan's incisive take on the songwriter’s struggles and features a searing guitar break from the song's co-writer Nick Saloman (The Bevis Frond)


The Bevis Frond toured with The Lemonheads in support of the latter’s much-praised ‘Love Chant’ album of 2025 from where ‘Roky’ originally comes. And, to complete this unique package, the Frond cover two Lemonheads’ songs, ‘The Great Big No’ and ‘My Drug Buddy’; both sounding like the kind of UK-based left field power pop that inspired Kurt Cobain in the formative days of grunge – indeed, they could have snook out on the original Rough Trade or 53rd & 3rd labels at any time.


Fact fans looking for Roky-styled curveball ley line between events, might note that The Lemonheads covered The Bevis Frond’s ‘Old Man Blank’ on 2019’s ‘Varshons II’, the same year that Roky sadly passed.


Stars & Quotes:
“One of the most distinctive voices of the ‘90s” The New York Times
“The Lemonheads are one of my favorite bands” Jimmy Fallon
“Gloriously euphoric melancholy” MOJO (on Roky)

Tenuous Links welcomes Torino’s very own VIOLA to the label with his new ‘Wrinkles’ EP. As the label owner of Reflue Records, VIOLA first caught my attention with his debut full-length release, a body of work that showcased a deep, rugged sound and a clear technical prowess shaped by his surroundings rugged coastlines and industrial landscapes of Torino in northern Italy. After speaking with Cristiano for over a year, it felt like a natural progression to bring his music to Tenuous Links. “The music I write almost always functions as a visceral soundtrack to whatever environment surrounds and infects me while I'm creating. Deeply rooted in the architectural contrasts of the places I’ve inhabited.”

‘Wrinkles’ is VIOLA’s second full-length body of work, yet the years of graft and dedication behind it are immediately apparent. Across three original tracks and a remix from London’s Jay Duncan, the EP delivers pure grit and crunch, inhabiting large, cavernous atmospheres grounded by pummelling bass, dynamic drums and intricate rhythmic detail.

The title track ‘Wrinkles’ is an ode to club spaces and the scene that revolves around them. Its broken rhythm channels the dancefloors of Cristiano’s formative years, spent partying in abandoned bunkers and warehouses in and around Torino. VIOLA explains: “Crafting such a raw, gritty bassline felt like an absolute necessity during the writing process, retracing memories of long nights spent dancing in silence.” The track’s cavernous atmosphere mirrors those pitch-black, unlit spaces, drawing us deeper and deeper into the abyss, with only brief glimmers of light offering reprieve from its relentless, all-enveloping bassline.

‘Mon Tom’ draws heavily from VIOLA’s hometown and his complicated relationship with Torino ,a city where tranquillity and beauty sit alongside heavy industry. The calm of the coastline is violently interrupted by vast steelworks and plumes of black smoke, leaving an imposing industrial mark on both the landscape and its people. The track reflects these contrasts. Metallic yet fluid, it moves at a faster pace, built around a driving 4/4 rhythm designed to suspend the listener while skittering percussion creates an increasingly uneasy sense of movement. It’s a meeting point between the beauty and brutality of the environment that inspired it.

‘P Maggiore’ was written between 2019 and 2020 while VIOLA was living in Rome’s chaotic Porta Maggiore district. Surrounded day and night by the grinding noise of trains, screeching tram brakes and beaten metal, he translated those raw auditory memories directly into high-pressure sound design. Yet, in contrast to the intensity of his surroundings, VIOLA deliberately pulls back the tempo.

Rounding off the EP is a skeletal remix of ‘Wrinkles’ from London’s Jay Duncan. She strips the original back into a techy, rolling cut, retaining its atmosphere and darkness while introducing a lighter touch of minimal-esque sound design. The result is a subtly transformed take on the title track that provides a fitting conclusion to the EP.

‘Wrinkles’ EP is a record shaped by place, by architecture, industry, memory and the physical spaces that leave their mark on us. From Torino’s industrial coastline to the chaos of Rome and the darkness of abandoned club spaces, VIOLA turns his surroundings into sound. Coming to vinyl and digital October 16th of October.

Yesca is back on Shall Not Fade with ‘Paint on Walls’ 12” EP.

2024’s Yesca EP on SNF - “Mood Loops” - set a high bar, so when we say this record is something special you should take note. Of course if you already know Yesca’s music or have had the pleasure of a Yesca DJ set then you will have already this queued up.

Sweet Spot: Ben Sims, Deetron, Oliver Ho, Vince Watson, Grain (Artwork’s Techno alias). Planet-E, Primate Recordings, Paul Mac & Stimulus Recordings found the sweet spot.

According to the OED the first use of the phrase “Sweet Spot” was in 1976 in reference to tennis rackets and golf swings. It’s where everything hits just right. And that’s what this EP does, hits just right. What strikes me is how descriptive the phrase ‘Sweet Spot’ is. Given enough swings and some luck we all know what it feels like to hit the sweet spot in some regard. Finding the sweet spot regularly though takes time and skill. But being able to hit the sweet spot by design every time, well that’s something different. That’s what makes the greats great.

For us at SNF there’s a consensus that in the lineage of electronic music there have been many moments where artists & labels converged on a sweet spot. One such sweet spot for us is in Techno
around 2003 when at the tail end of Hardgroove tempos began to slow and a groovier more refined tech house infused goodness appeared in the racks from a group of killer techno labels & artists (some mentioned above) that moment before the fuller emergence of the 2nd wave of Tech House in the mid 00’s.

That sound, while often emulated, never quite hit the same for us at least – until Yesca came along. His music has everything that we love about that sweet spot. Raw driving groove, rolling basslines and hip shaking percussion. What’s different on ‘Paint on Walls’ is that Yesca stepped on - he had already found the sweet spot on 2024’s Mood Loop EP - now his sound (or swing) is natural. Repeatable, refined and seemingly effortless. To revisit the tennis and golf analogy, this is the start of a Grand Slam run from an artist ready to etch their name in dance music history. Tiger..... Serena......Yesca.

Run the Tracks:
‘How I Do It (They Wonder)’ - A masterclass in less is more, and a serious DJ tool. Full of groove - slow it down and it will light the touchpaper in a house set - speed it up and you’ve got techno weaponry. Forget gatekeeping, this will make you feel like you just found a 2004 techno white label from the likes of Grain or Ben Sims.

‘I Desire’ - House music that I reckon Deetron would be proud of... Blissed out machine funk, whispered vocals, slick jazzy chords and dubbed out techno stabs are all grounded by Yesca’s impeccable, loopy drum programming. The best tunes always end too soon.

‘Domination’ - The ever rising bass, err, dominates this track and this track will dominate on many a dancefloor, but Yesca's knack for dubbed out swinging synth lines has to get a shout out here too. He turns what would be melodic elements into what feels like part of the percussion. Double Threat. Hands Up and Heads Down business.

‘Paint on Walls’ - It would be a tough call to say Yesca’s saved the best til last with the EP’s eponymous track given what’s come before, but Paint On Walls works all the highlights from the rest of the EP into a latin techno/house infused anthem. Skittering percussion, a hint of Detroit goodness and a deep deep rolling bassline and THAT vocal. In every way hopeful yet resistant, and that is what techno is all about.

Corps Perdu emerges from Lamin Fofana’s ongoing practice of creating immersive and multisensory sound environments, informed and inspired by the historically rich texts of scholars and poets working in the tradition of Black Studies. The words of W.E.B. Du Bois, Sylvia Wynter, Dionne Brand, Fred Moten, Édouard Glissant, Suzanne Césaire and Aimé Césaire are transmuted and circulated as sound, offered to listeners through radio, live events, albums and installations. Fofana honours his sources with an audible historical awareness, yet his sounds always simultaneously open out into the turbulent uncertainties of the present.
The music we hear on the album Corps Perdu was previewed within a series of collective reading and listening sessions carried out in Paris, Barcelona, Tunis and New York City, where voices from the audience read aloud fragments from a body of texts Fofana had selected. The spontaneous unfolding of close reading and listening, mixed live by Fofana in these collective listening experiences, speaks to the open-ended quality of Corps Perdu. The album, now published, is but one iteration of this ongoing inquiry into the relationship between sound and text.
Corps Perdu presents an introspective journey with no return, and as such is full of omens of all kinds. Across ten tracks Lamin Fofana creates a sibling or companion to the transformation he initiated in his previous album Works in Metal, building a narrative that takes us into Krakatoa prior to its eruption, and lets us listen to Césaire’s ‘flying seed dreaming very loudly’. The album’s track titles and narrative arc hum in and out and alongside Césaire’s poetry, mainly Césaire’s 1950 collection Corps Perdu, in which the ten poems are accompanied by engravings by Picasso merging fragments of bodies and plants—a collaboration that emerged from their first encounter two years earlier, at the Communist-led World Congress of Intellectuals for Peace, in Wroclaw, Poland.
The music on Corps Perdu labours intuitive hand-held melodies through dense processing. There are many rhythms throughout, though these never surrender to the density of the dancefloor grooves we’ve heard Fofana craft on previous albums (think of the ‘Obscure Light’ pair from Works in Metal for example). Instead, Fofana gently releases the clenched hands Césaire’s Corps Perdu begins with: ‘Among me, from myself, to myself, outside any constellation, clenched in my hands only, the rare hiccup of an ultimate raving spasm, keep vibrating word’. The album carries through sound the scattering and liquid fragmentation that shape the desperate metamorphosis of a ‘lost body’.

Selva Discos is proud to present its latest release: the EP by the band Discoteca Tropicana. This record features 4 original tracks that celebrate the rhythms that have influenced Brazilian disco music, showcasing the best of this fusion: the swing and tropical flavour that bring sunshine to any dance floor.

The project is the result of a collaboration between Kiko Costato, the enfant terrible of the Brazilian music scene, and Zé Nigro, a producer and multi-instrumentalist who has won two Grammy Awards and has worked with major names in Brazilian and international music such as João Donato, Antonio Carlos & Jocafi and Natasha Diggs.

This EP is based on 4 different themes. For each one, Kiko and Zé Nigro recruited some of Brazil’s finest studio musicians – people who work with Seu Jorge, Céu, Criolo, Metá Metá, Cidadão Instigado and Tulipa Ruiz – as well as pioneering artists from the Brazilian Black music scene, such as the backing vocalists who work with the legendary Gilberto Gil.

“Corpos Celestes” is a more classic “disco diva” track, featuring string arrangements and a grand piano, as if it were the start of the evening, a magical moment straight from the heyday of disco in the United States; “Corpo Treme” is the sweat, the vuco-vuco, a song for that moment when you’ve already let yourself go, a sprint to the frenetic rhythm of the carimbó; “Tobina” is the meeting of Brazil and Africa, from which Brazilian swing is born, an original chant straight from the Congo, with a characteristic African guitar, adapted to Brazilian rhythms, just like the afoxé. Finally, the dancefloor hit “Não Pode Acabar”, a more urban disco track, which works just as well for kicking off a party with the right vibe as for closing a set with the highest energy.

Emerging from the dark Olympic forests with a new album and a full bag of chanterelles, fish narc's Ben Funkhouser has shifted the damp melancholy characteristic of his earlier work towards the sun. Uncle is at once a cry of resignation ("say uncle!") and a declaration of seniority, a set of observations steeped in the blues of youth, delivered with Westerbergian inclination. Recorded and produced by Alex Farrar, the album's 11 tracks bear the hallmarks of his style: textured rock `n' roll somehow both raw and polished. Neither waxing pathetic nor sugarcoating, fish narc and the band are at peak form on Uncle, strumming out the complexities of aging with the conviction of a group that's fully found its footing in well-crafted rock and powerpop. Uncle KLP313, is a culmination of the punk rock musical work fish narc has done in his native Northwest environs. Says Funkhouser, "I feel like Uncle is the best record I've ever made. The songs grew without changing, the textures are spot on, and Alex [Farrar] and I saw eye to eye about almost everything. The album represents what I want for my band and songwriting and is the touchstone on which all my future work will be based." fish narc is a rocker and producer from the Pacific Northwest, recently relocated to Los Angeles. As a member of GothBoiClique, his innovative guitar playing became iconic of the group and helped shape the style of the movement that they pioneered. As a songwriter, fish narc leans more on influences from SST, K and the diy scene he grew up in. Catch him with a full band for the true intended experience. Previous records include WiLDFiRE in 2020, Camouflage in 2022, fruiting body [KLP295] in 2023 and frog song [KLP298] in 2025. This autumn fish narc will tour the United States with his punk horde.

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

After decades contributing to records where a single riff could transform a dancefloor, Charlie May turns that instinct inward on Trusted Farms.
For over thirty years, Charlie has occupied a position that seems increasingly rare in electronic music: the musician’s musician, the person behind the machines, the extra pair of hands in the studio, and quite often, the person responsible for the melody you end up carrying around in your head for weeks on end. 
Alongside Duncan Forbes as Spooky, Charlie helped shape some of the most important electronic music to emerge from the UK in the early ’90s. That partnership would also sow the seeds for one of Sasha’s defining records: the central riff behind Xpander began life in Spooky’s live material, before Charlie brought the idea into the studio with Sasha and helped transform it into one of electronic music’s most enduring anthems.
Listen closely to Charlie’s work and there’s a particular instinct that keeps returning: knowing when a simple synth line is enough. Knowing which note needs to change. Knowing when repetition stops being repetition and starts becoming the entire reason a track works. More recently, as one-third of Quiet Places on ASIP, he’s taken those same instincts somewhere looser — beatless, gridless and led by improvisation.
Trusted Farms puts those instincts front and centre.
Tiny melodic phrases appear and refuse to leave. Synth lines repeat just long enough to become lodged in your head. Parts rub against each other without being tidied into submission. There’s a sharpness and directness to it all amongst the purposeful analogue warmth.
Some of these tracks feel almost ridiculously simple at first. But simplicity is difficult when you’ve spent decades learning every possible way to complicate something. Many of the parts on Trusted Farms were performed live with minimal editing. A synth line might be doubled, distorted, re-recorded and pushed back through another piece of equipment, but it remains the same idea. Instead of filling the gaps, Charlie works on the weight and character of what is already there. The melodies become physical; slightly worn around the edges.
For someone whose fingerprints can be found across some genuinely monumental moments in electronic music, Charlie has spent decades knowing what to add. 
Trusted Farms is about knowing exactly what to leave alone.
Available on black 12”, mastered by Andreas Lupo LOOP-O Lubich and featuring artwork by Peter Skwiot Smith,

HVS is truly pleased to welcome Cash Kru and Tweeleaf to the label. Two of the hardest working kids in Jungle/Hardcore IMO. With a ton of quality releases under their belts, they just had to get pressed up, because these tunes are absolutely phat!

Cash Kru runs the Asionyta label out of Belgium along with Expo, F.T.C Project & Tweeleaf. Super wicked label putting out digital releases as well as lathe cuts, disks and cassettes. She has loads of top tunes on there, and not strictly Jungle either! She also runs the Devil Dubs label putting out very very quality Jungle. I highly recommend checking both out if you want some gritty, ruthless Drum & Bass.

Tweeleaf out of Pennsylvania (funny enough the same small town the rest of my family is from) also has releases out on both labels as well as his own, Interim Records, focusing on digi singles from him, all currently being sold at “Name Your Own Price” which is insane considering every release is excellent.

These tracks were made with a combo of DAW and emulated Amiga (more info on the center label) and all four are just Heavy as hell. I've been playing them out live a ton and every track crushes the dance floor. Someone always demands the rewind on “Militant Jazz” which is funny because the buildup is so long, but by the time it drops everyone loses it!

A1. starts off the EP on a more mellow tip with a vibey Soul Pride, Think & Amen mashup from CK. The switch up into the 2nd half phased out Amen is so seamless, it's a great way to get the EP going.

A2. goes straight into the ruffness with a relentless amen tune mixed up with some mysterious/jazzy chords/vox all summed together in PT2.

B1. is a remix of a tune of mine that never came out, but CK asked for the stems and did an amazing job with it. I love her choppage on this! Super tight and snappy and hits all the right notes for a destructive tune.

B2. ends the EP with one of the nastiest tunes to come out anywhere this year if I may say so. That Lemon D amen is just crazy, and that S950 time stretch stutter is chef's kiss. But you be the judge!!

Cult Argentinian darkwave act Euroshima’s Gala sees a vinyl reissue courtesy of Dark Entries. Euroshima was formed in 1986 by Fabián Iribarne, José Wyszogrod, Ricardo Parrabere, and vocalist Wanda. Originally released in 1987 on Polygram, Gala was a success throughout South America. But to the band’s dismay, they received minimal support from the record label, which meant the album would linger in obscurity outside of the region. A CD issue via Twilight Records surfaced in 2020, but this is the album’s first reissue on vinyl.
Gala’s legendary status among cognoscenti is warranted. The album’s nine tracks display all the hallmarks of the best darkwave: spiky guitars, analog synth basslines, and wailing vocals. But Euroshima make their mark on the genre with impeccable songcraft and a honed sense of the uncanny. While the band themselves rejected the label of “gothic”, it’s hard to resist busting out the black eyeliner when listening to gems like the uptempo “Como Los Otro” or the churning album-closer “Mejor Callarlo”. Highly recommended for fans of Xmal Deutschland, Lebanon Hanover, pummeling TR-707’s, and doom-laden synths.

This reissue is co-presented with Twilight Records, responsible for the 2020 CD reissue of Gala. It has been remastered by George Horn at Fantasy Studios. Also included is a double sided insert with lyrics and photos, as well as a postcard featuring a photo of the band.

In a blizzard of crushed breaks and dissonant tones, Shelley Parker lands on Sneaker Social Club with her third album, Screed. Taking a forensic approach to noise sculpture and harmonic interference, the UK-based artist maintains a fringe perspective on the legacy of hardcore-derived dance music, extrapolating the renegade spirit of the earliest innovators into unexplored zones where sound art and sound systems collide.

Parker's path through the underground has been informed by her art school background, equally at home in the parallel world of galleries, installations and institutions as she is in the club. This dualistic dimension to her practice charges her music with an outsider spirit that manifests across 10 striking new productions on Screed. Focusing on the sound over an umbrella concept, it's an album that rejects comfortable, functional formulae in favour of original expression.

There are plenty of forthright structures for DJs and dancers to lock onto, from the militaristic techno thrust and tightly clipped breakbeat loop of 'Relentless' to the splayed boom bap guiding the giddy string sequences of 'Stargazer Lily'. The insistent pulse of 'April' meanwhile offers only the faintest of paths to navigate dense thickets of jerky, swinging static and metallic clamour. 'Georgian Wire' closes the record out on dissembled drum licks with a brittle patina - a scooped out closer with the skeletal remains of a rave dialect that's second nature to someone with as much skin in the game as Parker.

In amongst those tracks lies a wide-ranging tapestry of rhythmic, textural and emotional approaches, from head-knocking beatdowns to billowing clouds of dub techno, angular stabs and industrial smudges. On Screed, Parker proves herself to be peerless and purposeful in her quest to find new forms within the well-worn canon of hardcore and rave.

Dark Entries is Elbow Deep in the Hoopla thanks to J.D. Slater. Legendary actor, director, and composer J.D. Slater is sometimes known as “the Lou Reed of gay porn.” Slater cut his teeth in the New York punk scene, even opening for the Talking Heads and Blondie at CBGB with his project Frenzy. A true polymath of the erotic, he co-founded Raging Stallion Studios with Chris Ward in 1999, which has remained a prolific outlet in the world of gay pornography. Elbow Deep collects the scores from three late 1990s fisting-focused Club Inferno films: At Arm’s Length, Hand Over Fist, and Heads or Tails. Never before released, these works show Slater digging deeper into the electronic music production techniques that were blossoming in that era, like loop-based sampling. Says Slater, “Suddenly I could have access to every instrument in the world. My whole concept of sound and structure evolved with the technology.” The works here are trance-inducing groovers, laced with acid and dosed with brooding ambience. Check out the Gregorian vibes on “Grand Fuck,” the legato lurch of “Stallion Funk,” or the frosty atmospheres of “At Arm’s Length.” Elbow Deep in the Hoopla comes with an insert featuring an interview with J.D. Slater. Starkly sexy, these tracks remind us of Slater’s creed: “The main rule for writing a porn score is to remember what you are writing for.”

Dark Entries is Filling Your Silence with the help of J.D. Slater. Legendary actor, director, and composer J.D. Slater is sometimes known as “the Lou Reed of gay porn.” Slater cut his teeth in the New York punk scene, even opening for the Talking Heads and Blondie at CBGB with his project Frenzy. A true polymath of the erotic, he co-founded Raging Stallion Studios with Chris Ward in 1999, which has remained a prolific outlet in the world of gay pornography. Having spent years in front of and behind the camera, 1999’s Filling Your Silence was his debut as maestro. This album collects the soundtracks from the first two Raging Stallion films - Sexpack One and Sexpack Two - to bring us nine tracks of sleazy beats and trance-like moments of pure ecstasy. Album opener “Seduction” begins with the iconic synthetic pan flute, one of the defining sounds of the 1990s, before pulling us along with its wild grooves.

Halfway through its nine-and-a-half- minute course, it breaks down to bust out a jazzy electric piano vamp. “Running with Scissors” ups the tempo with some crunchy breakbeats to undergird its portamento-laced lead synth. Elsewhere, like on “Mercy” and “Mercy (2nd Movement),” we see Slater embracing a bleep-adjacent sound close to early Nightmares on Wax or 808 State. Filling Your Silence’s endless grooves pursue that oceanic feeling. This record comes with a one-sided insert that includes archival Raging Stallion press materials. In the words of the Bay Area Reporter, Filling Your Silence is “quite possibly the best music for sex ever written.” A bold claim, but we can’t help but agree.

Fila Brazillia is the name of the decidedly singular collaboration between Steve Cobby and David McSherry, born in the coastal town of Hull in the UK. Bending—and often outright breaking—more or less every rule in the book, they've been effortlessly blending deep house, downtempo, breaks, ambient, and wry humour, sampling anything they can get their hands on. Their first outing was the 1990 single-sided white label 12" Mermaids, an airy deep house tune featuring a cheeky sample taken from the theme from Robison Crusoe. Since then, they've released a boat load of singles, seven highly regarded full-lengths, and more than 60 remixes for artists such as Radiohead, Busta Rhymes, and Lamb.

Black Market Gardening is their third full-length and marks a creative high-point for the duo. Over nine tracks, Fila Brazillia guides you through hazy, bass-heavy trip hop, cosmic synth lines, brisk breakbeats, funky guitar riffs, and even touch of drum 'n bass (it's the mid-1990s after all...). There's just so much to take in, leaving the listener wondering where the samples end and the live instrumentation begins. Yes, Fila Brazillia's output fits squarely within the chill-out tradition prevalent in the UK at that point in time, but their unmatched creativity and boundless approach to the studio process makes their music truly timeless.

Black Market Gardening is available as a 30th anniversary edition for the first time since 2001.

Without turning anything upside down, the trio has released their second album, gracefully deepening the unique path they have carved out for themselves. It is an album that already stands in stark contrast to the attention-deficit culture of our times. Indeed, whilst music sometimes seeks to concentrate the intensity of its references and artefacts, the trio takes a step back, deploying an intensity that is subtly distributed. Thanks to their progressive instrumental tracks blending elements inherited from dub, jazz, folk and even musique concrète, the trio has never allowed the quality of their music to suffer from their experimentation; at the same time, they have never been afraid to venture off the beaten track to achieve the sound they desire. Every single track of this album cast like fragile bridges over various landscapes that explore cycles and the natural rhythm within. It is up to the listener to tread carefully and not lose their footing and embrace the cinematic movement of this music. The three artists have indeed achieved a musical expression so free that it possesses the power of illusion. We are suddenly swept up in all these illusions, to the point where our memories are in flux. Both haunting and in motion, this trio’s music offers an impregnable mental retreat and an invitation to dance. This album conveys a dreamlike conviction that time, in its relentless flight, might—if only for a moment—be brought to a halt. A halt that awaits you.

Words by Carl Åhnebrink

2026 Repress

Folksongs and Ballads by Tia Blake & Her Folk-Group, is more than just a “lost classic”. As clear and honest as can be, Folksongs and Ballads is a magnetic record, a refuge like only Nick Drake, Nico, and a few others have been able to create. A graceful, delicately minimalist approach to classic Appalachian and British folk songs.The perfect balance between melancholy and daydream. Originally released only in France in 1971, Ici Bientôt is very pleased to present the first-ever reissue on vinyl.

When she recorded her only album, Tia Blake was nineteen years old and had just arrived in Paris a year and a half beforehand. She spent most of her time at Disco’Thé, a record shop in the Latin Quarter, a free space, peaceful and inspiring, a hub for students as well as the local artistic community.

There, Tia would occasionally sing—when she managed to overcome her shyness. Two young guitarists who were passionate fans of folk music and regulars at the shop began to accompany her, forming “Her Folk Group.” One year later, they cut 11 tracks at Pierre Barouh’s Studios Saravah.

Folksongs and Ballads is composed of traditional tunes that have been covered many times, but they’re not the best-known folk standards. A collection of stories ranging from the Middle Ages to the 1960s, bringing together sublimely doleful ballads, lamentations for a lost lover, and an unexpected, brilliant version of the road anthem “Plastic Jesus.”

Tia Blake's haunting, unaffected voice captivates and comforts us, wrapping us in its cool embrace. Meanwhile, the tasteful, stripped-down, mellow acoustic arrangements provided by the guitarists, reminiscent of Bert Jansch and John Renbourn, occasionally supported by a kena flute, have created the space Tia Blake needed to reinvent these traditional songs.

Folksongs and Ballads is a timeless record, deep and unique, a longtime companion for repeated listening, in the vein of works by Sibylle Baier, Bridget St. John and Vashti Bunyan.

Sadurn’s sophomore album The Underworld is a collection of heart-rendingly personal and instantly relatable songs, due out this fall on Run For Cover Records. Following years of lingering vocal issues for guitarist G DeGroot, the album is the culmination of an emotion- al and spiritual journey and a a deeply personal meditation on loss, healing, and transformation.
Sadurn began in 2017 as a solo project for G DeGroot, and from the start their approach to songwriting was informed more by emotional intuition than any kind of real ambitions to be heard. “I discovered songwriting as an outlet for processing my reality,” they explain. “A lot of times when something is hard to say, it flows more easily in songwriting. It’s a place where you can circle back to your own truth.” After moving to Philadelphia, DeGroot was joined by gui- tarist Jon Cox, drummer Amelia Swain, and bassist Tabitha Ahnert. The group recorded Radiator, a debut that immediately connected with listeners and was met with critical acclaim.

Throughout The Underworld, the rawness of DeGroot’s lyrics are matched by Cox, Ahnert, and Swain’s evocative playing. Stunning opener “the weight” describes the early stages of a relationship deteriorating, with brilliant soloing from Cox and DeGroot’s warm voice intertwining through its widescreen outro. Highlights like “mess,” “never tell me,” or “whole thing” strike a perfect balance be- tween lush arrangements and intimate performances, while tracks like “why does my heart” or “can’t stop” add unvarnished, single take moments of spontaneity, or GarageBand demo looseness that perfectly compliment the unabashed longing in the songwriting.

Sadurn’s sophomore album The Underworld is a collection of heart-rendingly personal and instantly relatable songs, due out this fall on Run For Cover Records. Following years of lingering vocal issues for guitarist G DeGroot, the album is the culmination of an emotion- al and spiritual journey and a a deeply personal meditation on loss, healing, and transformation.
Sadurn began in 2017 as a solo project for G DeGroot, and from the start their approach to songwriting was informed more by emotional intuition than any kind of real ambitions to be heard. “I discovered songwriting as an outlet for processing my reality,” they explain. “A lot of times when something is hard to say, it flows more easily in songwriting. It’s a place where you can circle back to your own truth.” After moving to Philadelphia, DeGroot was joined by gui- tarist Jon Cox, drummer Amelia Swain, and bassist Tabitha Ahnert. The group recorded Radiator, a debut that immediately connected with listeners and was met with critical acclaim.

Throughout The Underworld, the rawness of DeGroot’s lyrics are matched by Cox, Ahnert, and Swain’s evocative playing. Stunning opener “the weight” describes the early stages of a relationship deteriorating, with brilliant soloing from Cox and DeGroot’s warm voice intertwining through its widescreen outro. Highlights like “mess,” “never tell me,” or “whole thing” strike a perfect balance be- tween lush arrangements and intimate performances, while tracks like “why does my heart” or “can’t stop” add unvarnished, single take moments of spontaneity, or GarageBand demo looseness that perfectly compliment the unabashed longing in the songwriting.

Sadurn’s sophomore album The Underworld is a collection of heart-rendingly personal and instantly relatable songs, due out this fall on Run For Cover Records. Following years of lingering vocal issues for guitarist G DeGroot, the album is the culmination of an emotion- al and spiritual journey and a a deeply personal meditation on loss, healing, and transformation.
Sadurn began in 2017 as a solo project for G DeGroot, and from the start their approach to songwriting was informed more by emotional intuition than any kind of real ambitions to be heard. “I discovered songwriting as an outlet for processing my reality,” they explain. “A lot of times when something is hard to say, it flows more easily in songwriting. It’s a place where you can circle back to your own truth.” After moving to Philadelphia, DeGroot was joined by gui- tarist Jon Cox, drummer Amelia Swain, and bassist Tabitha Ahnert. The group recorded Radiator, a debut that immediately connected with listeners and was met with critical acclaim.

Throughout The Underworld, the rawness of DeGroot’s lyrics are matched by Cox, Ahnert, and Swain’s evocative playing. Stunning opener “the weight” describes the early stages of a relationship deteriorating, with brilliant soloing from Cox and DeGroot’s warm voice intertwining through its widescreen outro. Highlights like “mess,” “never tell me,” or “whole thing” strike a perfect balance be- tween lush arrangements and intimate performances, while tracks like “why does my heart” or “can’t stop” add unvarnished, single take moments of spontaneity, or GarageBand demo looseness that perfectly compliment the unabashed longing in the songwriting.

2026 Repress

On Left At Sunset, Tornado Wallace taps into those fragile, glowing moments after a long night in the club, when the lights come up just enough, the bass softens, and the first hint of morning slips through the windows. Time feels suspended.
The lead track Asahi Ga Yondeiru (“the morning sun is calling”) captures that feeling perfectly. Built around Courtney Bailey’s gentle vocal, it drifts somewhere between late-night house and early morning reflection. It is not about the peak. It is about what comes after it. That quiet euphoria when you realize the night gave you something you will carry back into the real world. The rest of the EP stays in that same emotional zone: warm, slightly melancholic, but full of light. These are tracks for the very last dance, when the floor is half-empty, hearts are wide open, and every sound feels a little more meaningful. Not an ending, really. Just the beginning of whatever comes next.

After 10 years of Andy Shauf"s The Party... it"s time for the afterparty. The Party (10th Anniversary Edition) adds nine never-before-released tracks to the original studio version of this essential indie album of the last decade, including two brand new songs plus alternate cuts and demo recordings. With The Party, Shauf masterfully creates a cast of memorable and unique characters. They show up "Early to the Party," reveal secrets ("To You") or try to reveal nothing ("The Magician"). In "a city the size of a dinner plate," everyone knew the guy who keeled over after smoking what he promised would be his last pack of cigarettes ("Alexander All Alone"). There"s the girl dancing by herself in the middle of the room, with the "Eyes of Them All" upon her. One moment you"re dancing with someone who bears an uncanny resemblance to your ex ("Martha Sways") and later slagging your best friend as way of endearing yourself to his recently dumped ex ("Quite Like You"). All of this is set to ornate arrangements of fuzzed-out guitars, string sections, clarinets and dreamy synths, all draped over delicate piano, acoustic guitars and rainy-day drums.

Put out on the vinyl circuit today on the occasion of Sascha Müller's 50th birthday is the "50 Years, Still Banging It Hard EP" by named long standing purveyor of quality electronic music, providing a set of three original tracks by Mr. Müller himself as well as three additional remixes on highly limited heavyweight splatter vinyl. With the opening cut named "The Real Acid Protector" Sascha Müller caters a straightforward and well peaktime oriented take on UK-infused Acid Techno backed by heavy claps and spiralling modulations followed by the floating hypnotic late night x early morning Acid(Trance) meditations and twisted machine choirs of "Acid Is Our Religion" whereas the subsequent "Defunction 303" brings forth enchanted Acid Breaks for experienced late night crowds. On the flip we see Citric Acid provide a remix version of "The Real Acid Protector" which speeds things up heavily for strobe-lit underground basement parties whereas the "Acid Is Our Religion *eVADE Remix" offers a playful and trippy little Acid journey for the deep late night jackers and the Flensburg-based DJ Nightnoise morphs "Defunction 303" into a stripped down, swinging and enchanted IDM x Minimal Techno affair whilst at the controls for his so-called 'Mental Atmosphere Remix'. Great stuff and a worthwhile birthday celebration indeed. Go check!

Review by baze.djunkiii / nitestylez.de / 2024.08.26

Limited pressing on splatter vinyl.

By the end of 1986, with Miles Davis’ career in resurgence, he was approached by the producers of the movie Siesta, based on the book by Patrice Chaplin and starring Ellen Barkin, Gabriel Byrne and Martin Sheen. Miles agreed to create the music for the movie and immediately asked Marcus Miller to help compose and produce.

As had taken place with Tutu, Miles looked to bassist Marcus Miller—working with keyboardist/programmer Jason Miles—to compose and construct the various tracks, over which he blew his trumpet parts. Matching the music to the mood and tempo of the film’s scenes lay on Miller’s shoulders. The soundtrack came together in early 1987 in Los Angeles, Miller and Jason Miles working in North Hollywood, and Miles driving in from Malibu to play his parts. Miller brought in a number of players to add solos and texture: guitarists John Scofield and Earl Klugh; flautist James Walker, and drummer Omar Hakim.

Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots.

Siësta is available as a numbered limited edition of 1000 copies on gold vinyl.

Norman Gervais and Charles Bals return after last year’s Transcoastal compilation with their first project for the Italian label Periodica Records and its newly founded imprint, Periodica International.
The concept behind SiRENE 89 is quite particular and took six years to develop. It is presented as the live recording of one long evening, with different bands taking the stage one after another on the terrace of a Mediterranean holiday resort in 1989, inspired by the places Charles and Norm remember from their summer holidays around that time.
The songs were recorded between 1982 and 1993 and gathered from small-time artists, beach-club vagabonds, local micro-labels, library records and privately released tapes. The music moves lightly between mystical ballads, digital samba and loose, sunburnt dance songs, carried by drum machines, not-quite-tuned guitars and college-band voices.
The audience on the terrace remains quietly present throughout, joining the tracks into one continuous, partly improvised set. By the end, it feels less like a compilation and more like a place where you have spent the night, proving that charm can carry further than perfection.

DJ Support: Dj Harvey, Bicep, TEED, Sarah Story, Joe Goddard, Make A Dance, Dj Subaru, Demi Requismo, Horsemeat Disco, Greg Wilson, Crazy P, Justin Strauss, Sean Johnston (ALFOS), Masilmiliano Pagliara, Red Rack’em Jordan Nocturne , Gina Breeze, Heidi Lawden, Eugene Whang, Neil Diablo, Gina Breeze, Marcel Vogel.

After a mysterious hiatus, one of The essential edit labels of the 2010’s has returned just as inexplicably as it disappeared..

The previous 4 volumes now change hands with private collectors for $$ .. These limited run edits will no doubt sell out in similar fashion..

The A side see’s the most dance floor oriented but often over looked track from Bjork’s album Debut receive the DJ edit it always needed . A2 a unique rework of a very rare nrg record that started out like as Aerobics accompaniment album..

On the Flip B1 take Turn toward the Funk , PBR giving the heavy dub treatment to one of The Whispers most criminally ignored tracks. Rounding things off the B2 drifts into the work of wonky, sleazy Italo.. Magari uses the little understood “wrong speed” technique to sublime effect, combined with some extra synth work it delivers a an entirely different track…one for the heads..

A timeless classic - coming up on nearly 20 years since the original 12's were released and the very first time this LP has collectively been available on wax. (over 15 years since last in circulation) This edition was remastered to analog perfection from the legendary Stefan Betke (POLE) sonically sculpting the original work into a true masterpiece - this album has never sounded so alive! This is truly a multidimensional sound experience; it's like taking a swim in an analogue ocean and being immersed into the deepest end of the Marianas Trench. This edition features two cuts, "A Night To Remember" (as featured on Richie Hawtin's ENTER: Ibiza 4XCD mix) & "Under The Ocean" from the original 2009 edition of the album. The remaining tracks were selected from CD2 including "Tswana Dub" (Phase90 Restructure) as featured on Deadbeat's classic mix "Radio Rothko" on NYC's theAgriculture. Also included is a "live" (recorded from the house booth) performance at "dub echoes" in NYC (a screening for the feature film).

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
Remastered 4:44

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
Remastered 4:44

Bloodhound Gang’s irreverent brand of comedy-rock and rap-rock is collected here on this essential 1LP hits package, pressed on exclusive Milky Clear vinyl and including a collectible poster. Featuring the band’s biggest and most enduring tracks, the set is led by the international smash “The Bad Touch”, a multi-million-selling single that reached No.1 in Germany, Sweden and several other European territories, while also hitting the UK Top 5. Also included are fan favourites “Fire Water Burn”, “The Ballad Of Chasey Lain”, “Along Comes Mary”, “Foxtrot Uniform Charlie Kilo”, “Uhn Tiss Uhn Tiss Uhn Tiss” and “I Hope You Die”, spanning the band’s most successful era from the platinum-selling Hooray For Boobies through to Hefty Fine. Bloodhound Gang have sold millions of albums worldwide, with Hooray For Boobies reaching No.1 in both Germany and Austria and achieving Platinum certification in the US. Combining the group’s biggest chart hits, cult classics and live favourites, this specially curated single-LP edition delivers the definitive Bloodhound Gang experience in a concise, collector-friendly format.

Limited White Label reaches a milestone with LTDBLBL025 – our first ever LP. For the occasion, we’re handing the catalogue over to Boris Graus aka Borka & The Gang for a 12-track journey through House, Jazz-House and Deep House Electronica. The double LP brings together years of Boris’ work and collaborations, connecting electronic production with the feel of live musicianship. Across the record, House grooves meet jazz, disco, funk and deeper electronic textures, moving between warm, rhythmic cuts and more atmospheric moments. Boris plays the keyboards, glockenspiel and percussion himself, while the record features contributions from a wide range of musicians from both his local circle and further afield – including Malou de Sel on vocals, Jürgen Leutnant on saxophone, Bruno dela Rosa on bass, Dario Cei on flute and Bruno Freitas on guitar.

Pressed on double 12” white vinyl, LTDBLBL025 is not only the first LP in the Ltd, W/Lbl catalogue, but also a milestone for Borka & The Gang – bringing together a body of work that reflects Boris’ long-running connection between electronic music and live musicianship. LTDBLBL025 – 2×12” White Vinyl / 12 Tracks

John Diva & The Rockets of Love make a triumphant return with their explosive new album “Your Favorite Drug”, set for release via Frontiers Records. Bursting with attitude, swagger, and unapologetic energy, the band delivers a full-throttle hard rock experience that feels both timeless and electrifyingly fresh. Packed with massive hooks, soaring choruses, and razor-sharp riffs, “Your Favorite Drug” showcases the band at the peak of their songwriting power. Standout tracks like “Bigger Than America” and “The Devil’s Got My Back” emerge as true anthems, destined to ignite stages and thrill every hard rock fan with their infectious energy and sing-along choruses. Produced by Hannes Braun, the album captures a polished yet gritty sound that perfectly amplifies the band’s larger-than-life personality. This is more than a comeback — it’s a statement. John Diva & The Rockets of Love are back, louder, bolder, and more addictive than ever. One of the best hard rock releases of the year!

The new album is inspired by the simultaneously magical and insidious ways that advertising and name-brand technology wraps itself around our memories. It’s an ambivalent ode to the nostalgic pull of commercial jingles and proprietary start-up sounds. The best things in life may be free, but childhood and corporate entertainment products are completely intertwined. The obsession with advertising and consumer technology informs the sonic make-up of the music as a source of raw material out of which the foundations of the tracks were built. Speaking on this impetus for the album Robbie Chater says ““It seems to be bound up with the nature of sampling itself. Once we start digging through forgotten sounds and uncovering their meaning, almost inevitably you get sent down a path of discovery. Every forgotten sound opens another door. And that’s what I love - feeling like a kid again. Diving into this whole world of advertising, looking at how jingles get made, it’s the kind of thing that keeps me interested in sampling as a process, an art form.”

Driveline Records presents its first solo EP, welcoming Maltese producer Patient to the label. Across four tracks, Patient showcases his signature blend of deep low-end grooves, hypnotic atmospheres and driving rhythms, staying true to the label's vision of timeless, dancefloor-focused techno. The title track, "Genetic Mutation", opens the record with a powerful and atmospheric journey, combining hypnotic textures with a driving groove built for peak-time moments. On "Sphynx", rolling hi-hats, evolving percussion and subtle tension create a hypnotic, constantly moving groove that keeps the dancefloor locked from start to finish. Flipping to the B-side, "Drift" shifts the focus towards deep low-end frequencies. Rolling basslines, immersive atmospheres and subtle movement give the track a dynamic yet restrained energy. Closing the EP, "Not A Replica" delivers a classic syncopated groove, full of tension, punch and infectious swing. A functional dancefloor weapon that provides the perfect finale to the record. With DLR002, Patient delivers four distinctive cuts that balance atmosphere, groove and functionality, reinforcing Driveline Records' commitment to timeless, vinyl-focused techno.

Label co-founder CRYME releases his third solo EP on the Berlin-based imprint, paving the way for a new, more subtle direction. Across these four tracks we find the artist diving deeper into a sound he's been shaping over the last few months. More adventurous, experimental, still driving and dancefloor-focused. This one is for the early mornings at festivals - that moment when the sunlight starts to break through the fog and the night turns into day. From bubbly, techy and quirky minimal on the A-side to more dubbed and spaced-out cuts on the B-side with a more atmospheric feel. Overall complex music full of movement that's still easy to listen to but keeps the crowd moving.

Label co-founder CRYME releases his third solo EP on the Berlin-based imprint, paving the way for a new, more subtle direction. Across these four tracks we find the artist diving deeper into a sound he's been shaping over the last few months. More adventurous, experimental, still driving and dancefloor-focused. This one is for the early mornings at festivals - that moment when the sunlight starts to break through the fog and the night turns into day. From bubbly, techy and quirky minimal on the A-side to more dubbed and spaced-out cuts on the B-side with a more atmospheric feel. Overall complex music full of movement that's still easy to listen to but keeps the crowd moving.

Inspired by the ska and reggae sounds crossing the border from Belize, the Mexican band Ely Combo was among the first in the country to incorporate Jamaican rhythms into its repertoire in the early 1970s. This single brings together two funk classics—Isaac Hayes’ ‘Shaft’ and the dancefloor favorite ‘Express Yourself,’ originally recorded by Charles Wright & The Watts 103rd St. Rhythm Band—reimagined here as two explosive reggae tracks.

A remarkable anomaly within the Latin American music scene of the 1970s.