Search:the work

Vic Bang's "Oda" arrives quietly - it was waiting for the right moment. The eight tracks are shaped by listening, by circling around sound instead of chasing it... you can definitely hear patience in the pacing, a willingness to let ideas linger, to let all the small motifs breathe.

The album moves with a softer and more deliberate rhythm than much of Vic's earlier work, as the sound world here feels concentrated and cohesive, built from a limited set of elements that gradually reveal themselves. Melodies unfold without too much fuss, textures repeat and mutate very subtly and the whole record holds together like a single extended thought.

The title Oda - or "ode" in English - hints at devotion, but not in any grand or ceremonial way. These pieces seem devoted to sound itself: to tone, to gesture, to fragile and simple musical forms. There's a gentle melancholy running through the album, but also clarity, even tenderness. Each track is dedicated to something - a timbre, a rhythm, a resonance - living up to the title's etymology.

All Music composed by Victoria Barca in Buenos Aires, Argentina, between 2024 and 2025.

Saxophone (3) by Camila Nebbia
Vocal samples by Catu Hardoy and Nicolás Said
Cello samples by Gabriela Areal

Mastered by Adam Badi Donoval

Front cover relief "Endulzando el oído" by Victoria Barca
Back cover photo by Indira Seoane
Design and layout by Paulina Ufnal and Janek Ufnal

MariMari’s debut album “Mimitomesoshiteecho”, originally released in 1997, is finally getting its long awaited analog reissue.

Known for being fully backed by members of Fishmans, this work centers on MariMari’s vocals, which combine transparency and fragility, layered with
the floating, organic ensemble reminiscent of the Fishmans sound a truly unique album that deserves recognition across generations.
For this reissue, UK cutting engineer Dave Turner, who also handled the latest Fishmans reissues, took charge of the cutting process.
The original master’s charm has been maximized while optimizing the sound for today’s listening environments, bringing the album back to life with a
fresh sonic image.

Experimental musician Greg Stasiw presents his debut album of radiant, free-flowing electronics ‘Guesswork’. Music for psychoactive exploration made over a four year period, incorporating ambient, minimalism, intricate sound design & Japanese environmental music. An exceptional listening experience of wonder, tranquility, melancholy & discovery, contemplating the relationship between sound & space.

Greg Stasiw is an experimental musician, visual artist and writer from New England, Northeastern USA. An itinerant polymath, Stasiw has spent time living, working and traveling in New York, Tokyo, Toronto, Paris, Boston, and Bratislava. As well as studying anthropology, animation and illustration, Stasiw has always had a close connection with music.

His earliest musical involvements started with ambient music on Sunday drives, microcassettes, the Windows 98 Sound Recorder and free play with Casio keyboards. Then came a formative procession of piano lessons, orchestras, choirs, taiko, metal, indie rock, tinnitus, and ultimately; the acquisition of music production software.

With his debut album ‘Guesswork’, the aural and visual inspirations that underpin Stasiw's creative life intersect, in a pure, radiant soundworld of space, depth and immaculate clarity. Futuristic, pellucid soundscapes incorporating ambient, minimalism, intricate sound design, and Japanese environmental music are deftly arranged with evanescent chimes, serene tone float, suspended organ notes and curious sci-fi resonances.

Like stepping into some space age meditation garden, if soundtracked by the likes of Hiroshi Yoshimura, Harold Budd, Norman McLaren, and Pauline Anna Strom, the thirteen tracks of ‘Guesswork’ create an exceptional listening experience of wide-eyed wonder, sleek tranquility, gentle melancholy, and singular discovery.

Death Is Not The End reissue Mark Vernon's sought-after 2013 collection Sounds of a Modern Hospital on vinyl & cassette formats.

Whilst every effort has been made to record the subject in as great a degree of isolation as possible, the sound recordings you will hear on this record were made in a real working hospital and not under controlled conditions. Therefore, on occasion, you may hear some unavoidable background noise, conversations and other extraneous sounds.

All recordings were made by Mark Vernon at Forth Valley Royal Hospital, Larbert, Stirling Community Hospital and Falkirk Community Hospital between 2011 and 2013.

„ behind horizons at the end of a breath why I love luna parks *_* „

Ben Kaczor debuts his first LP on St. Odes. Sirene showcases a more experimental and cinematic approach to sound. Tracks such as Amusement Impressions and Phantom Blues emerged from his fine art studies, while Sirene and Oval Waves reflect his work with the Buchla Easel. The artwork features a photograph by the artist himself, making the record one of his most personal works to date.

artwork by : Ben Kaczor / mastering by : Isabel Schröer

2026 Repress

Al Kent needs no introduction when it comes to being one the most prolific kings of disco in the UK. He reimagines hidden treasure and takes inspiration from the glory days of 70’s dancefloor nuggets to create modern day classics. Come Back Home (Again) is probably his most popular track to date and here he re-works it with his Disco Love Orchestra updating this disco gem for a new generation. A Philly style musical sound-bed with hooks galore topped by one of the most rousing, soulful male vocals you’ll hear in a long time.

Carlos Alberto García Moreno, better known by his stage name Charly García, is an Argentine singer-songwriter, multi-instrumentalist, composer and record producer, considered one of the most important rock musicians in Argentine and Latin American music.
Named "the father of rock nacional", he is known for the complexity of his compositions covering genres like folk rock, progressive rock, symphonic rock, jazz, new wave and many others.

a conceptual rock opera featuring experimental passages and two big hits, "Chipi Chipi" and "La Sal No Sala".

La Hija De La Lágrima is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl.







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“Feel So Good Around U” , LB aka Labat ‘s debut album. French dance music producer & DJ, LB aka Labat’s nights are filled with live show and DJ Sets in iconic venues and major festivals. Insatiable, the artist churned out releases for over a decade. For his first long format, he stopped lonely home-studio and teamed up in Berlin, London, Paris & Melbourne with famous producers such as Baugruppe90, Heartstring, Sam Alfred, Crush3d, Memphis LK, Skin On Skin, Lucas V, Amne ou Notinbed.

The result is both a solo work and a collective manifesto, with a unique touch mixing drum & bass, house, reggaeton, electroclash enhanced with vocals used as samples.

To celebrate its 25th anniversary, XL Recordings today announce a special, expanded version of Leila’s acclaimed second album Courtesy Of Choice. Originally released on 11th September 2000, the album followed the success of her Rephlex Records debut Like Weather and felt like a broadcast from a futuristic radio station no one else could tune into. Twenty-five years on, alongside collaborations with the likes of Bjork, Aphex Twin and Terry Hall and iconic performances at the likes of the V&A and Venice Biennale, more and more listeners have found the frequency. While Courtesy of Choice's influence continues to transmit through contemporary culture. the Iranian-born, London-raised producer remains utterly singular:

"I realised very early on that people don't really belong anywhere. That's what gives me the freedom to do any kind of music...I don't feel any commitment or loyalty to anything. My commitment is to noise." – Leila


This new version, Courtesy Of Choice… asides and besides, re-presents the original 14 track album — including the previously vinyl-only “Relax the Pleasuredome” — alongside a wealth of unreleased material. Leila chose to re-edit rather than remake the album (she has all the original data… midi and audio), choosing to set the parameters of only recovering buried details while preserving its spirit. “I wanted this reissue to be honest,” she explains. “Nothing added, just making sure the performances came through as they were meant to.” Among the twenty unheard tracks are Roya Arab’s striking collaboration on Cabaret classic “Mein Herr,” the surrealist collage “A Reasoning” with a sample of Max Ernst, the hypnotic “Acid Frog Fave,” the digi rave blowout “Birdie Rave,” and “techyarr”’s future forever funk from the realm of primetime Neptunes. Together they reveal both the breadth of Leila’s vision and the enduring power of an album that continues to sound ahead of its time.

The second release from Irish label IL Corpo Records comes from Dublin native Dave Hughes. The Fastplay E.P. sees the accomplished audio engineer and Dj return to production duties with 4 carefully crafted excursions into mid tempo deep house with elements of dub and techno. Having had multiple releases on John Tejada’s legendary Palette label and iRecords amongst others, the production values are top notch and well executed making this an interesting listen indeed.

Fastplay chugs along building gradually before sultry vocals from Svelte weave their way into the mix and beckon the listener to the dance floor for the night ahead.

Feel Better is a downtempo dubby experiment inflected with a dose of rave nostalgia.

Walk Alone sees more atmospheric chord work and well chosen percussion that cements the sentimental feel of the E.P.

Tabouli rounds out the release with broken beats wrapped up in mid eastern rhythms. Moody chords and a G Funk lead line keep the groove evolving to the end.

Cedofeita Records returns with CDFT004, a limited run of 150 numbered 12”s cut for DJs who like their records to do the work: five tracks across house, electro and breaks, sequenced with a clean sense of tension and release. Based in Porto, the label stays close to a simple rule — not where artists are from, but where the work happens. These tracks were written and shaped while the artists were living in the North of Portugal, tied into the local circuit and its night-time pace.

Miguel Rendeiro opens with “Love Me Too” — direct, fast and warm at the bottom end. Mike Morales follows with “Outta Shine”, modern and controlled, built on crisp rhythm and a steady forward push. On the flip, Bruno, Erp & Rompante hit heavier with “Parking Place” — bold stabs, sampling grit, room-holding weight. Sector Relay shifts the colour with “Social Distortion”, stripped electro pressure for late hours. Tasc’oTau feat. João Pedro Dias closes with “Magnificent City” — liquid break swing and soft detail, a final chapter that resets the room without losing the thread.

A Consummate Fusion of Wit, Humor, Satire, Honesty, and Chaos: Warren Zevon’s Excitable Boy Captures Dark Elements of American Culture with Uncanny Insight

• Sourced from the Original Analog Tapes for Definitive Sound: Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set and Hybrid SACD Play with Explosive Dynamics and Airy Openness

• Jackson Browne-Produced Album Includes “Werewolves of London,” “Lawyers, Guns, and Money,” and “Roland the Headless Thompson Gunner”

Excitable Boy established Warren Zevon as rock’s gonzo figurehead — or, as Jackson Browne aptly called him, “the first and foremost proponent of song noir.” A supreme collision of over-caffeinated energy, acerbic wit, dark humor, irreverent reporting, bittersweet romance, swept-under-the-rug truth, and illicit desire sent up with booze, pills, and therapist confessions, the breakthrough album zeroes in on frightening aspects of American culture with an incisiveness that’s even sharper today than upon the effort’s release in 1978. Its hard-boiled narratives owe to a tradition established by Raymond Chandler, continued by Hunter S. Thompson, and carried into the 21st century by Breaking Bad and Better Call Saul creator Vince Gilligan. And the music has never sounded so excitable. Sourced from the original analog master tapes, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set and hybrid SACD elevate the best-selling album of Zevon’s career to audiophile status.

Co-produced by Browne and Waddy Wachtel — and featuring contributions by members of Fleetwood Mac plus Linda Rondstadt, J.D. Souther, and Browne — the platinum-certified record now plays with a verve and explosivity that match its subject matter. Listeners will experience wide separation between the instruments; full-range dynamics; sterling transparency that draws a through- line to the original sessions at the Sound Factory; and a presence that enhances the body and tenor of Zevon’s vocals. Like the hairy creatures in “Werewolves of London” and the ghosts wandering the corridors of Excitable Boy, Zevon’s legacy still runs amok via the grooves of his finest studio work. Draw blood, indeed.

Repress !

Way back in 1981, two musicians got together to make a record. Mike Collins played guitar and had just bought a Roland CR78 - the first programmable drum machine. Keith O'Connell played Fender Rhodes piano and Prophet 5 synthesizer. Excited about the quirky and unusual instrumental track they'd composed, when the duo entered London's Utopia Studios to finish off their creation, neither could have predicted what was to follow... Now viewed by many as one of the most influential early electronic dance records, 'Rude Movements' was swiftly picked up on by David Mancuso, who used it to devastating effect at his infamous 'Loft Parties', in turn introducing it to Larry Levan, Frankie Knuckles, David Morales and Kenny Dope, a group of young DJs who would go on to write the blueprint for dance music as we know it.

In the more than 35 years since its release, 'Rude Movements' has continued to inspire and excite, sampled by The Bucketheads' classic House track 'Whew!' (featured on recent BBE compilation '20 years of Henry Street Records') and listed by a veritable 'who's who' of dance music's elite as an all-time favourite. Rare and much sought-after on vinyl, BBE are happy to announce the release of a fully remastered version of 'Rude Movements' presented alongside the original demo version 'Raw Movements', plus three other versions of the iconic track. Also included on the vinyl package are the Afrika Bambaata inspired 'Street Beat' and 808/MiniMoog workout 'Palace Strut', as well as three other 80s SunPalace compositions. CD and digital versions expand the catalogue still further, with more experimental SunPalace magic. Timeless original, quirky and unique, these recordings are set to inspire yet another generation of DJs,
producers and music fans.

(Early support by Ben Klock, DVS1 & Rene Wise) DHÆÜR makes his debut on Dustin Zahn's Enemy Records with 4 stripped down Techno tools ranging from "relentless and heavy" to "grooving and introspective." Each track offers a different approach to minimalistic Techno, all rich in moody atmospherics.

In classic A1 fashion, "Bayes Theorem" is the heaviest track on the record. Throbbing sub bass meshes together with pedaling hi hats while vocal chops and modulating synth work cover the top end. It's sinister and pounding, yet retains a sense of groove without becoming too aggressive. "Perception" closes the A side with a deeper and more introspective approach. The bass fills in only where necessary,leaving the pads and bleepy synths to do all the heavy lifting.

"Scanning" kicks off the B-side, defined by a rolling bass line and moody chord stabs. It gives the dance floor exactly what it needs and nothing more. The record comes to a close with "5th Avenue." It's deep, steady, rolling, and dripping in polymeter synth pulses. Brief glimpses of vocal phrases offset the darkness, giving it a bit of funk and playfulness...making it essential for deeper late night sets.

"On its Various 2 compilation, Altered Circuits returns with a gripping four-track selection by an equal number of distinct-voiced artists. Perrax En La Calle sees tINI merge sturdy drums, arpeggiated basslines, and ominous synth work. She knows what makes the floor tick blindfolded, and keeps the energy high here, channelling electronic body music and Italo into a contemporary club knockout. Up next is Ionic, a fusion of quirky, pointillist hooks that play call and response, driven by 909 kicks and a sub pattern underneath. Mogwaa spellbinds, and often pulls the rug only to reveal more intricate melodic needlework -- it's done so nimbly and enticingly, there's no way not to get drawn in. On the flip side, rising talent Desiree Falessi joins with the peak time Scandal. Statically-charged basslines mesh with reverb-drenched percussion salvos, and as slinky pads and subtle theme variations emerge, the intensity builds toward a tipping point. Closer Flex features a sharp arpeggiated bassline that funnels through misty, LFO-steered synths, scattered alarm-like melodies, muffled vocals, and gated-reverb snares. When classic high-pass modulation intermezzos are introduced, Monile demonstrates how sparse means, when deployed precisely, can sustain considerable tension."

Stripped bare and driven hard - this is Jack at its most physical. Filthy, saturated drum work meets crunchy, uncompromising samples as Bohm channels the genre's raw core across four relentless tracks. Each cut is engineered to whip crowds into a frenzy and lock the dancefloor in. Pure warehouse ammunition. Essential addition to any serious recordbox.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."

Yamila presents her second album on Umor Rex, Noor. Following Visions, Yamila returns with a work that merges nature-experience listening with expansive musicality. Noor was born from her time in an ecologist community, where she sought refuge in stillness, learned from animals, and tried to forget the human. In this communion with nature, she discovered a new compositional approach: reducing acoustic noise to allow unheard voices to emerge, transforming music into a possibility for interspecies dialogue.

Since ancient times, sound has been used to care for herds, to call across distances, to communicate with the non-human. Noor reimagines that ancestral role in a contemporary language, where epic harmonies collide with delicate micro-tonalities, and where rhythm unfolds not only as pulse but as movement for the body, a natural extension of Yamila’s work with dance companies and choreographers.

Her voice is interwoven with electronics and the resonant strings of Echo Collective, creating sonic landscapes that radiate intensity and fragility. At times monumental, at others almost whispered, Noor oscillates between composition and spontaneity, structure and suspension.

The album unfurls as a dialogue between the organic and the artificial, where sound grows like a sprout breaking through hard soil. Yamila’s music here is not only to be heard, but to be inhabited: a choreography of air, vibration, and resonance. Noor is both shelter and revelation, a reminder that music can still be epic, luminous, and deeply human, while listening beyond the human.

All music and voices by Yamila Ríos. Recorded at Destelheide by Christophe Albertijn. Strings by Trio Echo Collective (Violin: Margaret Hermant, Viola: Neil Leiter), (Cello: Stijn Kuppens), (Arrangements: Pierre Slinckx). Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Assiah Alcázar. Design & layout by Daniel Castrejón.

It is time for the guitar riffs and the basslines deeper than the Mariana Trench and therefore who can do it better than the Uruguayan born & raised mastermind that stands behind this next next edition - Matole. Hearing the music from this man leaves a great positive feel wanting to dance, live and love life. By perfecting his sound over the years, as soon as it touches the ear canals you can tell that it’s him and can only be him behind the wheel.

By his young age with utmost will to create, the man is leaving disc artefacts all over the globe working with different labels and promo teams. Now the time has come to synergize with XRD and the feeling is absolutely blissful. As the wise people say the algorithm is not going to fight itself, very important to get into battle stance and show these ones and zeros who is the boss around here.

Directions Out Of Town is the latest and teased as (possibly) the last LP by DIY electronic abstract pop wizard Finlay Shakespeare.

Directions Out Of Town is a fierce mix of headstrong pop bangers. Fact. There is simply no one else traversing the field that Shakespeare is exploring. It can be lonely in the desert, Simon says. Lyrically, Directions Out Of Town is dealing with loss; personally, geographically, politically, culturally - a general decay of everything.

This new record is heavily inspired by structural film where the results unravel a method where metaphor is removed from the act of sound synthesis, production and mix of the tracks. Fiercely independent and brimming with integrity this is a deeply effective journey through machines of the human experience.

The track titles are telling: 'Away', 'Get', 'Direction', 'I go for a walk', etc

This is sentiment via complex synthesis wrung through patterns of pop. One also finds ways out that only turn out to be false/untrue.

"I essentially don't know where I belong any more. This record is the precursor to that."

What is ostensibly an electro pop record reveals a multitude of layers and depth as one man and his machines wrestle with the reality of this tangled matrix. If the charts had brains this would be album of the year.

Finlay Shakespeare is an electronic musician working in the UK. His fascination for synthesized sound was born out of his parents' record collection, leading him to explore the electronic music of decades past throughout his teenage years. While starting to write and record his own tracks, he also began learning analogue electronics, which led him to design and build his own equipment. To date, he has released work on Editions Mego, Superpang, and his own GOTO Records.

The Hamburg duo Bêtes Sauvages started out as a DJ team and discovered their calling relatively late: the synthesizer. In 2019, the pair bought two synths, more for fun, after watching a documentary about these instruments. Eventually, they began to delve deeper into the how and what of them, and suddenly they received an offer from the label Kernkrach to contribute a track to a sampler. Things were getting serious. When the track "roboti" was played at parties as far afield as Guatemala, they decided: an album was needed. The work on it turned out to be more intensive than expected. Therefore, several more sampler contributions and even years passed before their self-titled debut was finally completed. The result is a wild mix of minimal, synthpop, synthwave, and quirky DIY sound.

And another new volume of the Meeting Of The Minds series is here, with 4 new collaborations I've done with other producers in the jungle scene!

"Casual Loop" is a collaboration that me & Submerse started working on in 2023 but it was another one of the tracks that I had lost due to my computer being stolen in early 2024, & I hadn't fully backed up everything I had done for a few months, including this track. This meant I had to re-do a lot of the work I had done with what Submerse had started but I was lucky enough to get it near identical to how it was sounding and ready for release. Submerse has been on Future Retro London a few times, with his EP release (FR033) & a track featured on the atmospheric VA EP (FR049) that came out late last year, I'm a huge fan of his musicality & his melodies, which made this track really fun to work on, even with all the obstacles faced!

My first interaction with Quaad goes way back to 2013, when he asked me for a guest mix for a radio show called The After Party that was on C89.5FM in Seattle (which is still up on my SoundCloud for anyone curious) and then before he started his current label (Heavy Sounds), he had started a label with Wetman called Vivid Recordings, which he was sending me the releases on (but I think in standard fashion, I kept forgetting to check them!). But it wasn't until 2022 when me & Dwarde played in Seattle with him and I saw his live Amiga set where he was playing a lot of his own music, & from then on, I was better aware of what he was doing & I got to hang out with him & know him a bit better, which is when I then fully started following what he was doing. Then eventually, we ended up doing a track together (he also uses FL Studio, just like me) and "Judge Dredd" is the end result of that.

Samurai Breaks is also someone that I've known of for a long time but didn't really properly connect with until recent years where I saw what he was doing with his label Super Sonic Booty Bangers, which also does events in Sheffield which I played for in 2024. It was quite an interesting collab because I don't think many people would have necessarily expected our styles to really gel well together but I think we managed to hit a nice midpoint between his craziness & mine haha

Fixate is most likely another person that people would not have anticipated as someone that I would collaborate with, mainly because the style of tune people know him for is more tied with the footwork/halftime sound that became popular in the 2010s, as well as his output as 1/2 of dubstep duo Leftlow, but he has made some jungle in the past & I'm always down for the challenge of stepping outside of my comfort zone to work with people who are not mainly based in the newskool jungle scene but have an appreciation for it. I found out about him through the releases he had on Exit Records from 2015 onwards, plus he was also a part of Richie Brains (the project in 2016 involving many artists forming a loose collective) so I was aware of what he was doing but I properly got to know him from when I went bowling with him, Dwarde & LMajor back in 2022 and then he sent me something to work on early last year (another FL Studio producer btw!), which I took my sweet time in starting it but eventually got done & here we are! And for those wondering, the track title (May Contain Traces) alludes to me & Fixate's shared allergy towards nuts (although his is a lot more severe than mine), which was the only thing I could think of to name the track after when it came down to it!

Nervous Gender’s legendary synthpunk LP Music From Hell burbles up from infernal depths to resurface on Dark Entries. Confrontational, unhinged, and unabashedly queer, Music from Hell is an unholy grail for fans of the strangest underbellies of post-punk, minimal synth, and early industrial music, and is presented here newly remastered and on expanded double LP.

Nervous Gender (de)formed in LA in 1978 at the hands of Phranc, Gerardo Velaquez, Edward Stapleton, and Michael Ochoa. Phranc, the androgynous embodiment of the band’s name, left in 1980. Following her departure, a wide cast of LA freaks would find themselves drawn into the band’s orbit, including Alice Bag of the Bags, Paul Roessler of the Screamers, the Germs’ Don Bolles, and an 8-year old drummer named Sven Pfeiffer. In 1980, Nervous Gender appeared on the seminal Live at Target compilation alongside Factrix, uns, and Flipper. With the band’s notoriety cemented, Music from Hell followed in 1981 on Subterranean Records (as no LA label would touch this material).

Side A, dubbed “Martyr Complex”, presents a more punk-forward sound with live drum salvos and slabs of aggressive synth. These twitchy, unsettling shockers ooze with the kind of snotty misanthropy that will endear them to fans of the Screamers or Crass.

Side B, known as “Beelzebub Youth”, is a live performance the band labeled "an electronic bruto-canto dissertation on the banality of spiritual transcendence." Mutant melodies cede way to synthesized clangs, whirs, bleeps, manipulated tapes, and howls of despair.

In addition to all the material from the original LP, we’re treated to a full disc of the band’s demos, the material from the Live at Target compilation, and early live recordings. Included are unrecognizable covers of Carly Simon and Lou Reed, and the Sex Pistols that are so despairingly skewed they fall into the void. This reissue of Music From Hell includes a 36 page lyric booklet, foldout poster, and gatefold sleeve with photos, flyers, and news-clippings designed by Eloise Leigh. Tackling taboo issues like sexual kinks, mental illness, drug use, and childhood molestation, Music From Hell is still surprising – even shocking - over 40 years after the album’s release. Nervous Gender stand as one of the most genuinely anti-establishment outfits in underground music, a colossal fuck you to social norms from religious strictures to gender essentialism.

The much-missed Vaughn Benjamin reminds us why his approach to reggae lyricism remains peerless with “Charges,” a standout track from the Polarities LP released on 7” vinyl for the first time. Arriving amidst an era of global economic shifts, the release feels forcefully timely. Genius metaphorical wordplay and wide-ranging subjects are distilled into a cohesive whole as the global economy and its entrapping neo-colonial rules come under the microscope. Produced by Zion I Kings with Tippy I at the helm, the track is anchored by the rock-solid drumming of Lloyd “Junior” Richards and the propulsive bass of David “JAH David” Goldfine. This release features a previously unheard B-side dub, giving space to the celestial synth work of the late Andrew “Drew Keys” Stoch. This series honours both the vocal and version culture of the reggae sound system and the profound lyricism of Vaughn Benjamin.

C.L.A.W.S. comes to Dark Entries with a new ripping LP, Splat City II. C.L.A.W.S. is the solo project of musical luminary Brian Hock, who has been a key figure in the Bay Area underground for over two decades via his involvement in projects like Bronze and The Vanishing, as well as helming the record labels Squirrels on Film and Immortal Sin. With C.L.A.W.S., Hock takes on the dancefloor, picking up cues from the Hague’s Giallo-dipped electro, the skewed minimalism of Chicago acid, and the mind-rending forays of San Francisco post-punk icons like Chrome and Tuxedomoon. Following 2019’s inaugural Splat City EP, Splat City II continues to map the psychogeography of a metropolis both alien and immediately recognizable, one where life is cheap, but so are the thrills. Previously released on Squirrels on Film in digital-only format, this expanded vinyl edition of Splat City II features two new cuts. Things kick off with “Route 505” and “One Tear,” a duo of rompers that vibe like Tom Ellard and Chip E locked in a room with a vial of liquid. Next up, Bay Area deckmaster Tyrel lends his editing chops to “Vigilant Slimy Monsters,” sculpting a moody space disco beast. Squirrels on Film co-founder Solar teams up with Hock for “Black Magic Carpet Ride III,” a cavernous downtempo banger. The slow-mo pace continues with “Wild Slugs United,” which features the no wave-esque clarinet work of Paul Costuros. Closer “Don’t Flip the Crystal Ship” pays homage to Bayview venue Bay Area 51 with melancholic strings and a quartz-solid electrofunk bassline. Splat City II comes in a sleeve with artwork by Bert Bergen, which features a vampiric cat and sci-fi cityscapes.

The continued relevance of the work of Akae Beka is forceful on the movingly topical Rastafari statement Imandment To Heart. Taken from 2021’s album Polarities and produced by Zion I Kings with Tippy I at the helm, the track presents a striking contrast: an uplifting major-key Rub A Dub rhythm, powered by renowned Jamaican drummer Kirk Bennett, sets the stage for scathing lyrics linking “chaos theory,” refugee crossings, and prophetic judgment. Vaughn Benjamin calls for a moral law “written upon the inward part” amidst global turmoil. Released on 7” vinyl for the first time by Before Zero Records, the single is backed by a B-side dub sculpted sonically by Laurent “Tippy I” Alfred at his Holy Mountain Studio in St Croix.

The Amazing Nina Simone reveals Nina Simone at the dawn of her recorded legacy—already assured, deeply expressive, and impossible to categorize. Moving effortlessly between jazz, blues, folk, and classical influences, Simone delivers performances of striking intimacy and emotional precision, pairing a distinctive, searching voice with elegant, commanding piano work. This special repressing on 180g orange vinyl brings renewed warmth and presence to these recordings, enhancing their dynamic range and tactile immediacy. A timeless listening experience, The Amazing Nina Simone remains a powerful introduction to one of the most singular voices in modern music

When Soulox sent me a bunch of tracks he had been working on last year, there were some really good bits in there, but I noticed that there also seemed to be a lot of remixes that him & Xtra Spice Mikey (previously known as Phineus II) had been doing of each other's music.

I felt like even though I had no clue what the originals of the tunes were or what they sounded like (or if they even really existed!), that it could make sense to put this all of this together into an 8 track joint release of original productions & each other's remixes. It also gave me the opportunity to include in some older bits from XSM which had never seen the light of day.

Big up to both of them for being up for putting this release together & thanks to Skr0nz for the illustrations used on the artwork.

In 1949 Miles Davis, Gerry Mulligan and Gil Evans - they'd never met before - gravitated together with the natural
affinity of kindred souls. Combined, they gave each other a spiritual boost that resulted in many all-night sessions of
earnest discussion, writing and playing-productive work on new musical ideas, new voicings, new concepts of jazz.
Their first appearance startled a delighted jazz public, and marked the birth of the cool. Today, these famous Miles
Davis instrumentals are as exciting as ever, and here are in all their glory.

In February 2025, more than 1,000 musicians came together to release a silent album protesting the UK government’s planned changes to copyright law, which would make it easier to train AI models on copyrighted work without a licence. The album, titled Is This What We Want?, featured recordings of empty studios and performance spaces, representing the impact on artists’ and music professionals’ livelihoods that is expected if the government does not change course.

The digital release in February 2025 reached no. 38 in the UK album charts. Now, it is being released on vinyl, with a bonus track - a recording of an empty studio - from Paul McCartney. The vinyl is being released by state51.

Under the heavily criticised proposals, UK copyright law would be upended to benefit global tech giants. AI companies would be free to use an artist’s work to train their AI models without permission or remuneration. The government’s proposed changes would require artists to proactively ‘opt-out’ from the theft of their work – reversing the very principle of copyright law. ‘Opt-out’ models are near impossible to enforce, have yet to be proven effective anywhere else in the world, and place enormous burdens on artists, particularly emerging talent.

Facing major backlash from the creative sector and beyond, the government has said its previous proposal is no longer its preferred option. However, it has not proposed an alternative, simply recommitting to its plan to “modernise the copyright legislation”. In the meantime, it has sent creatives a worrying signal, five times rejecting House of Lords amendments to the data bill that would have given rights holders visibility over when their work was being used against their wishes by AI companies.

The album’s track listing spells out a simple message: “The British government must not legalise music theft to benefit AI companies.”

Ed Newton-Rex, the organiser of the album, said:
“The government must commit to not handing the life’s work of the country’s musicians to AI companies for free. Doing so would be hugely damaging to our world-leading creative industries, and is totally unnecessary, only benefiting overseas."

Paul Sanders, founder of The state51 Conspiracy, said:
"When tech companies lobby governments to give them songs for free, it’s not so they can cure diseases, feed the hungry, or provide clean water where it is needed. It’s simply so they can make millions of fake songs and keep all the profits for themselves. As a company with a lifelong commitment to musicians The state51 Conspiracy was honoured to be asked to help get this message out on vinyl. All profits go to Help Musicians, which is what our politicians should be doing instead of sucking up to tech bros."

Alex Rex, the project of acclaimed musician and former Trembling Bells bandleader Alex Neilson, is set to release his fourth and final studio album, The National Trust, on March 28th. Written in the wake of the sudden death of his younger brother, Alastair, the album is a poignant reflection on loss, love, and renewal, deeply rooted in the landscape of Carbeth—a cabin community in the Scottish countryside that Alastair called home. For Neilson, the cabin became both a physical and emotional project, a symbol of restoration and reconnection.

"For the first four years after Alastair died, his cabin lay empty and exposed to the remorseless Scottish weather. It came to look like a rotten tooth in a beautiful mouth. Cladding was dropping off its veneer, the ashen baubles of dead wasps nests clung to the rafters, all his possessions were just as he'd left them but eaten by mice, moths and time. Ashtrays still carried the crushed centimetres of his old tab ends. The cabins are so joyfully animated by their host's specific personality and this one looked like a haunted house. Guilt, unrealised hopes and encroaching nature yoked together in a wandering sadness. Combined with the fact that I didn't know the right way round to hold a hammer made the project of its restoration seem hopeless.”

Neilson, however, gradually began chipping away at the task, determined to transform the cabin into something he hoped would resemble “a National Trust site occupied by a psychopath,” with a little help from some friends, including Lavinia Blackwall and Marco Rea.

“They poured love into the cabin and helped restore Alastair's original vision. The project also helped restore my relationship with Lavinia which had fractured after Trembling Bells broke up in 2017. Alongside long-term Rex lieutenant Rory Haye, we applied the same intensity of dedication that we did in renovating the cabin, into creating The National Trust.”

As with Neilson’s previous albums, the recording process was intentionally unpolished, with songs presented in the studio with no rehearsals and captured in just a few takes. This raw, immediate approach amplifies the emotional weight of the album, which Neilson describes as being at a “personal apex of sour self-reflection, mock misanthropy, and self-exposure.” Longtime collaborators Lavinia Blackwall, Marco Rea, and Rory Haye return, alongside guest musicians like Jill O’Sullivan (Jill Lorean) and Trembling Bells guitarist Mike Hastings, to bring Neilson’s vision to life. The result is a deeply personal and multifaceted work, blending acid wit with haunting introspection.

The songs on The National Trust traverse a wide emotional and thematic range. The title track opens the album with a sharp and confessional edge, exploring love, loathing, and cultural critique with Neilson’s signature wit. “Boss Morris” pays tribute to the all-female Morris dancing troupe that reinvents British folk with vibrant energy, while “Two Kinds of Song” turns self-referential humour into an avalanche of remorse, culminating in the unforgettable chorus: “I’ve got two kinds of song. Which one will it be; one where I hate myself or one where you hate me?” Elsewhere, tracks like “Psychic Rome” draw from the decadence and hysteria of ancient Rome, while “The Coward in the Tower” breaks new ground as the only song Neilson has composed on an instrument before recording.

Throughout the album, Neilson’s lyricism is as vivid as ever, transforming personal tragedy into poignant and often darkly humorous art. Yet, there is a sense of finality to this work. "Songwriting has encouraged me to see the whole world as a resource. The things people say and throw away can be chiselled and polished and plopped into a lyric. It’s the same with building the cabin- scouring the edges of society for pallets, discarded wood, ornaments for the garden. But while song writing brings to life orphaned parts of my personality, the cabin is a synthesis of all my interests – nurturing my emotional health instead of exploiting it. With that in mind, I think this will be my last album as Alex Rex.”

With The National Trust, Neilson closes a significant chapter of his career, blending masterful musicianship with deeply personal storytelling. Known for his collaborations with artists such as Bonnie "Prince" Billy, Shirley Collins, and Current 93, as well as his decade-long tenure leading the psych-folk outfit Trembling Bells, Neilson has long been celebrated for his eclectic and uncompromising vision. This final album serves as a fitting culmination of his journey as Alex Rex, capturing the essence of his artistry while offering a profound exploration of loss, renewal, and the enduring power of love.

Finlay Shakespeare is an electronic musician working from the UK and across Europe. A childhood obsession with his parents’ record collection led him to both create his own music and build his own synthesizer equipment throughout his teenage years. After studying audio engineering, he was invited to become in-house engineer for the Moog Sound Lab UK, leading to collaborations with acts as diverse as Suicide, Charlemagne Palestine, The Grid and Mica Levi & Eliza McCarthy, both in live and studio environments. In 2017, Finlay began recording a series of monthly “Housediet'' releases - all improvised and captured at home utilising drum machines, modular synthesis and processed vocals. After several encounters with Peter Rehberg of Editions Mego, a compilation of the Housediet tracks was drawn up by Rehberg and Shakespeare, culminating in the release of “Domestic Economy” in early 2019. “Solemnities' ', a second album for Editions Mego appeared the following year. In the period since Rehberg’s untimely passing, Finlay has recorded for Superpang, Modulisme and his own GOTO Records imprint. “Illusion + Memory”, meanwhile, continues on from where “Solemnities” left off, with Finlay once again aiming to work at the fringes of electronic pop. Alter is proud to present “Illusion + Memory”, the third full length physical LP of Shakespeare’s utterly unique and sophisticated output. Shakespeare’s obsession and knowledge of late 70’s and early 80’s electronic pop music is once again at the forefront of this intense and dynamic release. Alas, this is not some retro throwback. Shakespeare’s deep understanding of his machines breathes new life into a genre of music once defunct. Supporting the likes of Blancmange bolstered his reputation for sublime synth hooks and dark lyrical content. Building on his previous work in the field “Illusion + Memory” is an unabashed pop record, as joyous as it is intense, moving from the brooding opening ballad “Your Side of the River” through the punchy “Theresa” which could be read as a love song to Throbbing Gristle’s United. Elsewhere “Climb” unleashes the opportunity to the dancefloor as wild electronics snake into all manner of schizophrenic shapes. There is a romantic side to this music. In its homage to electronic pop of the late 70’s and early 80’s but also in the emotional punch Shakespeare injects into every second of every track. Shakespeare’s reboot of these musical forms is technically impressive, one rich in feeling and deep in emotion, atmospherically and vocally. The two come together to create a unique visceral sonic experience… today!

Denmark s forward forward-thinking trio Human Being Human return with a luminous new collaboration featuring acclaimed American saxophonist Chris Cheek. Rooted in lyricism, groove, and connection, Being captures the essence of what it means to create music as a shared act of humanity. Formed by bassist Torben Bjornskov, pianist Esben Tjalve, and drummer Frederik Bülow, Human Being Human have quickly earned a reputation as one of Europe s most distinctive piano trios. Their blend of Nordic lyricism and modern rhythmic vitality has drawn international acclaim for its compositional voice and cohesive ensemble sound. On Being , the trio expand their world through the unmistakable voice of Chris Cheek - a player known for his warm tone and intuitive lyricism, whose credits include work with Paul Motian, Brad Mehldau, and Charlie Haden. A long long-time admirer of Cheek s work and humility, Bjornskov reached out and invited him to Denmark to collaborate with the trio. In the studio, the chemistry was undeniable, as most of the album s tracks were captured in just one or two takes, preserving a sense of immediacy and spontaneity. Reflecting on what it means to be human, our capacity to make decisions and shape the world around us, as well as the damage our species has done to our planet, the quartet channels a spirit of contemplation and rediscovery through elegant, organic compositions. Tracks like Human Rights showcase the group s deft interplay and melodic clarity, while the tender ballad Being highlights Cheek s burnished tone and Tjalve s spacious harmonic sense. On Filia , a duo between bass and saxophone, the music unfolds in weightless dialogue and pure musical empathy. True to the group s name, Being reflects on what it means to live, connect, and create as humans in a complex world. The essence of music is working together, being open, being positive, and wanting to experience new things, things," says Bjornskov. That s essentially what jazz is - it s influenced by any and every culture in the world, every kind of music and race, and every person is part of it.

Carnivalfinds the Fort Worth trauma ray captures some of their strongest, most intense, and exploratory work within the boundaries of a whirlwind year. The breakout success of Chameleon, their 2024 debut on Dais Records, further established the band amidst the current wave of shoegaze revivalists, yet increasingly agile, able to weave between scenes, touring throughout 2025 with the likes of Deafheaven, Loathe, and TouchéAmoré. A confluence of blitzing riffs and stark beauty, theirsound continues to evolve, nodding to loud-quiet-loud greats across metal, grunge, and shoegaze from Slowdive to Smashing Pumpkins. Carnival delves into moodier, more cerebral material, like holding theirpast excursions against a funhouse mirror. There's a distinct sense ofunease in these songs, built as a band in a fleeting window of time, proving they work best under pressure and when pulling from thedarkest corners of their subconscious. The wordless "Carousel" ushers in the EP's unsettling atmosphere withblasts of static and downcast strums giving way to "Hannibal", ananthemic track packed with power riffs and raw emotion. The band has hit this kind of sheer power before, from 2018's "Solstice" to Chameleon's title track, while "Hannibal" contorts with a tinge ofunprecedented evil, slithery, "Stone Temple-y, Alice in Chains-y," Avilaquips. Lyrically, he taps into teenage angst, the feeling of beingdissected and rejected.

Carnivalfinds the Fort Worth trauma ray captures some of their strongest, most intense, and exploratory work within the boundaries of a whirlwind year. The breakout success of Chameleon, their 2024 debut on Dais Records, further established the band amidst the current wave of shoegaze revivalists, yet increasingly agile, able to weave between scenes, touring throughout 2025 with the likes of Deafheaven, Loathe, and TouchéAmoré. A confluence of blitzing riffs and stark beauty, theirsound continues to evolve, nodding to loud-quiet-loud greats across metal, grunge, and shoegaze from Slowdive to Smashing Pumpkins. Carnival delves into moodier, more cerebral material, like holding theirpast excursions against a funhouse mirror. There's a distinct sense ofunease in these songs, built as a band in a fleeting window of time, proving they work best under pressure and when pulling from thedarkest corners of their subconscious. The wordless "Carousel" ushers in the EP's unsettling atmosphere withblasts of static and downcast strums giving way to "Hannibal", ananthemic track packed with power riffs and raw emotion. The band has hit this kind of sheer power before, from 2018's "Solstice" to Chameleon's title track, while "Hannibal" contorts with a tinge ofunprecedented evil, slithery, "Stone Temple-y, Alice in Chains-y," Avilaquips. Lyrically, he taps into teenage angst, the feeling of beingdissected and rejected.

Buoyed by an ever-evolving collage of pop influences, Mumble Tide’s work has regularly swung between the sweet and savage, the grungy and glistening. But at its heart is the meeting of two minds; singer-songwriter Gina Leonard and multi-instrumentalist Ryan Rogers. Over the last few years they have honed their distinctive brand of kaleidoscopic indie, all anchored by Leonard’s crystalline, plaintive voice.

Now, following a series of acclaimed singles and EPs, they return with new single ‘Pea Soup’, the third to be previewed from their upcoming debut album ‘Might As Well Play Another One’, to be released on the 1st May via Breakfast Records. Produced by Stew Jackson (Massive Attack), it’s their most self-assured and compelling work to date, a sweeping, orchestral vision of struggle, sadness, and the beauty in between.

Marielle V Jakobsons has cultivated a signature voice molded by minimalist, ambient and spiritual traditions. Her recordings, from her early work with Date Palms, to the ongoing work with Chuck Johnson in Saariselka, and most definitively with The Patterns Lost to Air, show Jakobsons to be an exceptionally skillful sound sculptor, a musician who knows the value of patience and control. An artist able to derive maximum impact from her chosen sound elements, the album"s layout is shaped by three primary voices of violin, Fender Rhodes, and Moog Matriarch and was recorded in 2024 in the studio Jakobsons built in Oakland, California.

Marielle V Jakobsons has cultivated a signature voice molded by minimalist, ambient and spiritual traditions. Her recordings, from her early work with Date Palms, to the ongoing work with Chuck Johnson in Saariselka, and most definitively with The Patterns Lost to Air, show Jakobsons to be an exceptionally skillful sound sculptor, a musician who knows the value of patience and control. An artist able to derive maximum impact from her chosen sound elements, the album"s layout is shaped by three primary voices of violin, Fender Rhodes, and Moog Matriarch and was recorded in 2024 in the studio Jakobsons built in Oakland, California.

Like a crusader, Apollo Noir relentlessly pursues his noble cause: pushing modular and analog experimentation ever further while remaining irresistibly accessible. Here is CORE, his 4th studio album, fusing post rave techno Detroit à la Drexciya and Manchester early Autechre (Spiral), OPN’s most epic era (Nobody On The Floor), futuristic UK jungle (A Good Brainwash), letfield amen-breaked ambient (ça va), a mega massive cadaver exquis song (CORE) featuring Remi Sauzedde’s very close friends (Janis, Ley, Claude Violante, Silly Boy Blue, S Diamah, Serguei Spoutnik and Fly HQ), diving deeper - as a true obsessive lover of drum machines (TR909, TR808 and TR606) - in the raw deconstruction of techno rhythms (Déconstruire), unleashing a dark and heavy Bassline at 145 bpm with grime vocal samples (Patternity), heavy modular beats blending perfectly with soft and voicy Korg M1 pads (Shame)... Apollo Noir knows his classics and contemporaries inside out, forging his own path with deranged yet beautiful twists (Thedral, Arco Arca).

Pem is a multidisciplinary artist, songwriter, and gardener whose work fuses organic and stylized elements. Her music is rooted in nature, shaped by long days tending gardens and observing seasonal cycles. Initial ideas emerge as “pocket sketches” — spontaneous melodies recorded while gardening — later evolving into full compositions.
Her EP other ways of landing emphasizes textural depth, world-building, and her distinctive vocal agility. Themes of belonging and rootlessness permeate her work, inspired by her transient lifestyle and connection to gardens.
Pem’s sound blends ethereal alt-balladry with soul and folk influences, underpinned by raw singer-songwriter foundations. Her hypnotic tremolo vocal technique adds an uncanny, esoteric quality. Live, she delivers arresting performances marked by stylized detachment and emotional tension, complemented by self-made costumes and lyrical motifs of fabric and fragility.

Influences range from Nick Drake and Vashti Bunyan to Cocteau Twins, Mazzy Star, and Björk. Her music explores cyclicism, mythology, and planetary themes, merging her real-world gardening experience with mystical undertones.