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Nach Roy Orbisons unerwartetem Tod kurz nach ihrem Debüt machten die Wilburys als Quartett (George
Harrison, Jeff Lynne, Tom Petty und Bob Dylan) weiter und veröffentlichten ihr zweites Album mit dem
humorvollen Titel *The Traveling Wilburys, Vol. 3*, das die Singles „Inside Out“, „She’s My Baby“ und
„Wilbury Twist“ enthielt.

Eine sorgfältig zusammengestellte Kollektion, die Desmond Dekkers Einfluss auf Ska, Rocksteady und
frühen Reggae unterstreicht. Mit herausragenden Titeln wie „Israelites“ und „007 (Shanty Town)“ fängt
sie jenen Sound ein, der dazu beitrug, jamaikanische Musik einem internationalen Publikum nahezubringen.
Dies ist eine kompaktere Version der „Essential Collection“ von 2023; sie erscheint anlässlich des National
Album Day 2026 (10. Oktober 2026) sowohl als Pressung auf schwarzem „Ecorecord“-Vinyl als auch
im Digisleeve-Format (1 CD) inklusive Booklet. Die Veröffentlichung bietet ein klares, warmes Klangbild
und dient als prägnanter Überblick über Dekkers wichtigste Aufnahmen – eine verlässliche Ergänzung für
Sammler und ein idealer Einstieg für alle, die den klassischen Reggae für sich entdecken möchten.

Mit ’The Sea Has No Mercy’ veröffentlicht Bernie Taupin sein erstes Soloalbum seit fast vier Jahrzehnten
und zugleich sein erstes vollständig selbst geschriebenes Werk. In zehn persönlichen, atmosphärischen
Folk-Songs verarbeitet der legendäre Songwriter und langjähriger Kollaborateur von Elton John 76 Jahre
Lebenserfahrung. Aufgenommen in Nashville mit Produzent Frank Liddell, überzeugt das Album mit großer
Erzählkunst, emotionaler Tiefe und Beiträgen von Brandi Carlile, Lee Ann Womack und Tochter Georgey
Taupin. Inspiriert von seiner gefeierten Autobiografie Scattershot zeigt sich Taupin hier so persönlich und
unmittelbar wie nie zu vor.

Mit der Veröffentlichung des Albums ”Watertown” melden sich die Brothers Osborne zurück. Das Duo
präsentiert dabei erneut sein herausragendes musikalisches Können, erstklassiges Songwriting und jenen
unverwechselbaren Sound, der es zu einem der gefeiertsten Acts der Country-Musik gemacht hat. ”Watertown” markiert das neueste Kapitel in der Karriere des Duos und besticht durch herausragende Titel
wie „Born and Raised Hell (feat. Cody Johnson)“ und „Tough Kid (feat. Stephen Wilson Jr.)“. Die mit
einem Grammy ausgezeichneten Brothers Osborne verbinden auch hier Country, Rock und tiefgründiges
Storytelling auf eine Weise, die das Publikum überall begeistert.

Mit ”Muse” präsentiert EGOT-Gewinner und Multi-Platinum-Artist John Legend am 23. Oktober sein
neues Studioalbum – vollständig produziert und co-written von Pharrell Williams, der als Produzent bereits
Hits für Künstler wie Jay-Z, Snoop Dogg und Justin Timberlake geprägt hat. Musikalisch verbindet das
Album Gospel, Soul, Doo-Wop und Hip-Hop mit modernen Afrobeats.
Aufgenommen und produziert wurde ”Muse” in den Louis Vuitton Studios in Paris. Auf den insgesamt 16
Tracks zeigt sich John Legend bewusst von einer neuen Seite. Weitere Album Highlights sind Features von
sowohl Pharrell Williams als auch Clipse.

Bereits in den frühen 1920er Jahren hatte sich Coleman Hawkins in der New Yorker Jazzszene als einer
der ersten großen Improvisatoren auf dem Tenorsaxofon etabliert. Bis sich sein Gesundheitszustand 1966
rapide verschlechterte, hielt er stets mit der Entwicklung des Jazz Schritt. In seiner letzten Schaffensphase
zwischen 1960 und 1965 war er unter anderem auf Max Roachs Klassiker “We Insist!” und zusammen mit
Sonny Rollins auf dem gemeinsamen Album “Sonny Meets Hawk!” zu hören. Darüber hinaus spielte er
in diesen Jahren vier Alben für das damals trendsetzende Label Impulse! Records ein. Das letzte dieser
vier Alben, “Wrapped Tight”, war 1965 zugleich auch das letzte Album, das von Coleman Hawkins als
Bandleader noch zu Lebzeiten veröffentlicht wurde. Mit einem Sextett interpretiert er hier ein breitgefächertes Repertoire, das neben klassischen und zeitgenössischen Jazzstandards mit “She’s Fit” auch auch
ein Hawkins-Original enthält. Scott Yanow bewertete das Album in seiner Rezension bei AllMusic mit vier
Sternen und schrieb: “Auf Hawkins’ letzter starker Aufnahme improvisiert der Veteran - 43 Jahre nach
seinem Plattendebüt mit Mamie Smiths Jazz Hounds - kreativ über ein breit gefächertes Repertoire …
Glanzstück ist eine gewagte Version von ‘Out of Nowhere’, die zeigt, dass der Tenorsaxofonist auch 1965
noch neue Ideen hatte.”

Mit gerade einmal 19 Jahren hat sich die irische Gitarristin und Sängerin Muireann Bradley als außergewöhnliche Blues-Interpretin einen Namen gemacht. TV-Auftritte bei Jools Holland u.a., sowie ausverkaufte
Konzerte dies- und jenseits des Atlantiks sowie Festivalshows in einem Umfeld, zu dem auch Neil Young,
Lana Del Rey und Beck gehörten, machten sie bekannt.
Wer Muireann Bradley spielen hört, dürfte kaum vermuten, dass die Musikerin aus dem irischen County
Donegal erst 19 Jahre alt ist. Zu selbstverständlich klingt ihr Fingerpicking, zu tief scheint sie in jene
musikalische Welt eingetaucht zu sein, die von Blind Blake und Mississippi John Hurt über frühen Bob
Dylan bis zur irischen Folk-Tradition reicht.
Jetzt geht sie einen entscheidenden Schritt weiter und rückt eigene, unter die Haut gehende Songs ins
Zentrum. Ihr Album „Rose Dogs & Blackwood Pew“ verbindet die fünf Stücke der 2025 nur digital
erschienenen EP „Rose Dogs“ mit den sechs Titeln der neuen EP „Blackwood Pew“.

Zwanzig Jahre nach der Veröffentlichung ihres Debütalbums „Mount A“ greift Hildur Guðnadóttir auf „This
Will Be Us“ die Musik wieder auf, die ihren frühen künstlerischen Werdegang geprägt hat. Zusammen mit
dem Dirigenten Robert Ames und dem Deutschen Symphonie-Orchester Berlin interpretiert sie Titel aus
„Mount A“, „Without Sinking“ und „Saman“ neu und präsentiert zudem zwei neu komponierte Werke. Auf
„This Will Be Us“ ist Hildur als Solocellistin und Produzentin zu hören. Das Album vereint Musik aus ihrem
frühen Schaffen und präsentiert diese zutiefst persönlichen Kompositionen in neuen Orchesterarrangements.

2026 Restock

Celebrating 50 years of dancing, Amnesia represents the heart and soul of electronic music in Ibiza. Telling a story that spans five decades, the 50th anniversary vinyl/CD compilation is a window into a legendary venue that has helped establish some of the world's biggest tracks.

From the iconic piano riff of Eric Prydz' 'Pjanoo' to the laid-back groove of 'Benediction' by Hot Natured. A club that spans eras and genres - the disco of Chic's 'Good Times', the synth-pop of New Order's 'Blue Monday', or the gritty electro of Alter Ego's 'Rocker'.

The soundtracks of 50 summers are represented across 50 tracks spanning 10 vinyl/5 CDs. A hand-picked selection that reflects the incredible breadth of Amnesia's cultural influence, featuring music from Calvin Harris, Donna Summer, Paul van Dyk, Candi Staton, Fred Again.., Robert Miles, Laurent Garnier, Binary Finary, and many more.

LUCIANO LAMANNA — A CARLO Blackwater Label — 2026 Distributed by Triple Vision More than ten years in the making, A CARLO is a single-sided EP by Luciano Lamanna for Blackwater Label, dedicated to Carlo Giuliani and to the memory of the events that unfolded during the G8 protests in Genoa in 2001. This record is the result of a long process, one that began more than a decade ago and has remained unfinished until now. Two tracks, both carrying the name and memory of Carlo, finally complete a circle that has been open for years. The first track, “Il Giorno del Sole”, was previously released on physical CD through Blackwater Label. The second, “Amore Infinito”, arrives more than ten years later, completing the dialogue between the two pieces and giving the project its long-awaited counterpart. Together, the tracks form a deeply emotional and personal statement: melancholic, haunting and at the same time driving and hopeful. Lamanna moves through the industrial language that has always characterised his work, while “Amore Infinito” explores a darker, more intimate territory, evoking the emotional intensity of Coil. A CARLO is not intended as a historical reconstruction or a conventional political statement. It is an act of memory.

For Blackwater Label, memory is political. For more than twelve years, Blackwater has built its identity around what we call Socialismo Sonoro: a way of understanding music and cultural production as a space for autonomy, resistance, collective consciousness and taking a position. We have never been interested in remaining neutral when the reality surrounding us contradicts the values we believe in. This record belongs entirely to that vision. Putting this record out today means continuing to pronounce the name Carlo. Keeping a memory alive. Refusing to allow silence to become the final form of history. Blackwater continues to expose itself, in its own way, through music, without claiming to speak for anyone else, but accepting the responsibility to say what it believes needs to be said. A CARLO is therefore both a tribute and a continuation: a record born from grief, transformed through sound, and ultimately directed towards memory and hope. CREDITS: Written, produced, mixed & mastered by Luciano Lamanna Released by Blackwater Label © 2026 Blackwater Label Distributed by Triple Vision N·C·V·A·F Nvmqvam Cede // Vsqve Ad Finem

Underoath reinvents the balance between chaos and harmony with each successive release. Their compositions, conjured from creative tension, become iconoclastic anthems. Even when the band almost combusts, the crackling energy coalesces into something deeply resonant for millions.

Each time they have a chance to do something safe, Underoath challenges themselves instead, with integrity and attitude. Their pair of gold albums and three Grammy nominations stand in stark defiance of the idea of commercial compromise. The Underoath catalog weaponizes noise, aggression, and ambiance as skillfully as melody.

This year the band celebrates 20 years of their album Define The Great Line. Coming on the heels of 2004’s They’re Only Chasing Safety, Define The Great Line saw Underoath pivoting towards a more aggressive sound. The record’s unconventional – and, at times, jarring – intensity served as a stark contrast to the pop-leaning trends that were taking over heavy music at the time.

Featuring fan favorites like “Writing On The Walls”, “In Regards To Myself”, and “You’re Ever So Inviting”, Define The Great Line defied expectations when it debuted at No. 2 on the Billboard 200. It is widely regarded as one of the definitive heavy records of the early 2000s, solidifying Underoath’s legacy as one most influential bands of the genre.

The heart of their sound, which delivers naked vulnerability with thrilling force and cinematic lushness, can be heard in generations of bands who’ve pursued their trailblazing spirit. But Underoath refuses to sit still. Walking an artistic tightrope between immersive access and isolationist otherness, Underoath owns the space between huge choruses and forward-thinking heaviness, both on record and onstage.

Classic edits that place the funk upfront. Da Breaks brings that familiar flavour with a twist of Boom-bap, these timeless reworks are built for DJs. Trimmed, tightened and ready to mix.

12“ limited Picture Disc Vinyl

Harvey McKay’s “Table for One” returns to Systematic Recordings for a special and deeply meaningful vinyl edition. Originally released digitally on Systematic, the EP captures the unmistakable sound of the Glasgow producer: powerful, hypnotic and uncompromising techno, driven by raw energy while always retaining the musicality and soul that defined Harvey’s work. Following Harvey’s passing in Spring 2026, this release inevitably carries a different weight. For Systematic and Marc Romboy, it is first and foremost a celebration of
his music and the lasting impression he left behind.
For the first time, “Table for One” will be available on vinyl, presented as a strictly limited 12” picture disc pressing of only 500 copies. The original version takes the A-side, while Marc Romboy’s remix opens the Bside, offering his own interpretation of Harvey’s distinctive sound. The release is completed by “Mycelium”, another powerful example of McKay’s ability to combine hypnotic repetition, precision and sheer dancefloor energy. More than a vinyl edition of an outstanding Systematic release, this record has become a tribute to an
artist whose music will continue to live on through clubs, DJs and dancefloors around the world.

Quiet, from the Latin quies, evokes a state of being still. In its verb form, quiet means to clear so that something can gradually come into focus. Kind Stranger by Amedeo Cappelletti is where quiet materializes in a more transient, even foreign, way. Each track takes a step back from noise, borne out of a slow return to music, a different pace, and a familiar place left behind for years.

Kind Stranger, released on Aurora Edition on July 24th, is about the strangeness of a return. Cappelletti's melodic scores work their way between faint noise and disquiet, and sonically muse upon the familiar. That is, when given enough time and distance, the familiar can become unrecognizable, demanding stillness to resituate oneself within it.

The album began taking shape when Cappelletti performed at Aurora Edition at Silent Green, just after he had returned to music following a three-year hiatus. In one month, he wrote forty-five minutes of new material from scratch. Then Cappelletti left Berlin after eight years and returned to the Tuscan countryside where he had grown up, back into slowness.

The album develops as an atmosphere in the truest sense. Resampled voices, found sound, and years of sound design practice converge as compositions form by overlapping texture with spatial depth. Kind Stranger cultivates a quietude that envelops the listener.

Vocal recordings made with Matthew Walsh and Sarah McInerney, collaborators Cappelletti met by chance in a Berlin ice cream shop, appear throughout the album like a current, shaped during a residency at MONOM, Berlin's spatial sound institute. Thematically, the record moves through digital addiction, fragmented attention, and the grief of work done in the darkness.

Kind Stranger is an offering to whoever finds themselves here within the quiet, in this particular quality of sound between return and lingering.

Amazing house anthems! The debut release, FD001 quickly gained international attention for its lowslung, dirty house groove, catching the attention of Claude VonStroke and the Dirtybird camp, with the track selected for Claude’s Live @ Movement mix. Since launching the label, Freak Division has continued to build momentum with a growing catalogue of original releases while also maintaining a strong presence on respected house labels worldwide. Drawing inspiration from their US house influencers, the duo’s recent productions have evolved to incorporate the warmth, swing and character of classic 90s house. The new direction has also seen the emergence of their latest moniker, House Monsters, showcasing a deeper connection to timeless house music while pushing their sound into new territory.

The release follows a run of major live moments, including supporting Frankie and The Witch Fingers at The Garage, standout festival appearances at Wild Paths and Down Stokes, and three packed-out sets at Left of the Dial, including highlight performances at De Doelen and V11 in Rotterdam. Sharing stages with Wine Lips and The Bug Club, Dreamwave have quickly become one of the most exciting and fast-rising live acts in the UK psych scene. Two EPs, one essential 12"-Drifter on one side, Moon Dogs on the flip.

Tauchen Sie ein in eine faszinierende Welt voller mystischer Klänge, sphärischer Melodien und geheimnisvoller Atmosphären. „Mystic Spirits“ entführt den Hörer auf eine musikalische Reise zwischen Meditation, Mystik und entrückten Klanglandschaften.

Sanfte elektronische Sounds, eindrucksvolle Arrangements und geheimnisvolle Stimmen verbinden sich zu einer außergewöhnlichen Klangwelt, die zum Träumen, Entspannen und Abschalten einlädt. Die Compilation vereint
stimmungsvolle Titel, die eine ganz besondere Atmosphäre zwischen Spiritualität, Fantasy und New Age schaffen.

Mit dabei sind hochkarätige Künstler wie Mike Oldfield, Lesiem und Angelzoom, deren charakteristische Sounds perfekt in das mystische Konzept dieser Zusammenstellung passen. „Mystic Spirits“ – eine musikalische Reise in geheimnisvolle Klangwelten für alle, die außergewöhnliche Musik mit Tiefe und Atmosphäre lieben.

Here come two unearthed scorchers from the 90s era of UK Dub. Shades Of Black also known as Jonah Dan and Paul Fox on the riddim, mix and vocals. On the A side, one finds ‚Free Again‘, a conscious vocal piece including two dubs calling for freedom and equality. It has never been released as such, and only sounds like Aba Shanti-I were able to beat down cuts of this one dubplate style. The side B holds ‚Fight For The Right‘ an anti-war hymn from the late nineties, which seems to be unfortunately just as relevant today. A crunch with the needle and let the time traveling begin. 90s SALUTE !

Set to expand the footprint of his recent album Make-Up Is A Lie, his 14th solo album, legendary singer and songwriter Morrissey highlights “Zoom Zoom the Little Boy” on 7" vinyl, accompanied by a previously unreleased B-side from the album sessions, "Without Music the World Dies". The single features a vintage cover shot by Tina Dehghani.

WRWTFWW Records proudly announces the release of sfs/in vain (selected tracks) by UK jungle heavyweight and Future Retro London founder Tim Reaper, a limited-edition 3LP bringing together selected tracks from two previously digital-only albums, sfs and in vain.
An insane collection of slower 140 BPM wonders, sfs/in vain explores jungle, dubstep, UK garage, R'n'B, grime, liquid D&B and broken beats through Tim Reaper's fresh and informed approach. Deconstructed and reconstructed club music, rooted in tradition but looking forward, these tracks reveal another side of one of the key figures in the modern jungle revival.
The selection comes from 2 albums. sfs collects a body of slower material Tim Reaper worked on throughout 2025, stretching across various genres of UK electronic music. in vain comes from a much more personal place. Written during a period of instability, heartbreak, financial and professional uncertainty, the album became a way for Tim Reaper to process what was happening around him and find some kind of escape. The tracks were made at a point when the effort he had put into rebuilding his life felt as though it had all been "in vain" - hence the title. The result is warm, melancholic, soulful, simply very human.
Together, these selected tracks highlight the incredible range of Tim Reaper's production, proving that his understanding of jungle extends far beyond the traditional boundaries of the genre. From heavyweight bass music to delicate melodic passages, sfs/in vain (selected tracks) is a beautifully varied snapshot of an artist constantly pushing UK club music into new territories.
Tim Reaper has been leading the resurgence of jungle for years, with releases on AKO, Skeleton Recordings, 7th Storey Projects, Green Bay Wax, Dalston Chillies, Parallax, Myor Massiv, V Recordings, Deep Jungle and many more. He is also the founder of Future Retro London, one of the most respected labels and platforms in the contemporary jungle scene.

Put your hands together and please welcome Linda Lo to Shall Not Fade's Time is Now imprint. The LA producer/DJ's new 12" EP "Masa" drops 23rd Oct 2026 and f**k is it sick.

Linda Lo fuses* mambo, samba, and salsa with UK garage, dubstep, and club rhythms to make guaranteed rewind material that is gonna light up the dance…

* imma talk about this fuses sh*t in a minute.. First we need to get a bit philosophical. Cos rewinds and fusions aside, this EP is alive. It's part of something bigger and cyclical, without a start or an end. It is music. It was part of someone else's music before and it will be part of other people's music in the future. Right now though, it's Linda Lo's music.

Too esoteric? Let me elaborate and, let's talk about fusion. There is the fusion that is – steal a bit of genre X and culture Y, chuck it on the grid and strut about professing fusion – and then there's actual fusion: Music that is something "new" and real and genuine. Music that you end up describing excitedly as a "fusion of" things (even if it inevitably ends up doing it a disservice). Music that is simultaneously one thing and not that thing, and also something else and not that something else too. Music that is just "music" to the creator but is also part of the progression and evolution of music for others. Mala wasn't making "dubstep". Skream & Benga ended up not making Garage. Like many before and after they were making their music and Linda Lo is making her music so let's hear from her about it. Big up Linda. This is real.

Notes from Linda:

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“Like Croydon by way of Havana”

“Masa, or corn-based dough used to make tortillas and tamales, is a traditional staple food for many in Mexico and throughout LatAm. In the Maya worldview, people's flesh is made out of masa. In order to make masa, corn must be dried, nixtamalized, ground, and mixed (often by hand) to create the right textured dough. I find much of my music work is a collision and a mixing of many elements, all worked into one product. In this way, I've worked these songs, transforming raw rhythms and sub bass into hand-mixed tunes. ‘Masa - EP' presents four delicious heaters. The title track explodes with a fiery double-time dubstep groove. Mambo horn stabs bite through a bass inferno. ‘Cenote' looks down upon a subterranean pool of sound—still on the surface but impossibly deep. ‘Minifalda', pure flirt and gyration, calls in cuica and other voices from a samba bateria. Finally, claves stitch across ‘Mestiza', a fusion of blooming lush orchestration and jagged 2step rhythm.

Around 1960, my grandparents were regular dancers at the Palladium in Los Angeles: young, Mexican, and falling in love to dance music, specifically big band mambo. My mom, consequently, is a fantastic dancer, and her mambo collection along with my dad's exotica records formed the base of my own vinyl collection. When I first discovered garage and dubstep, there was something indescribably familiar to me, something mambo-like about the syncopated offbeat hits and drama. Later, as I began stitching together mambo claves and 2step drums, I assumed I was trying out something totally new. The farther I go, the more I see that I was wrong.

Dubstep, garage and jungle share a parental lineage back to dub reggae, originating from Jamaica. Mambo hails from Cuba, and sister genres of salsa to NYC & PR, and bachata and meringue to the Dominican Republic. Yet, these musical genres of the Caribbean have not developed in isolation. Reggae, mambo, dancehall, salsa, even son jarocho from Veracrúz, Mexico (where my family is from), all developed together, influencing each other fundamentally. Ultimately, all musics of the Caribbean have come from West African polyrhythmic musical heritages. Garage, mambo, dubstep, and salsa are points in time along one musical continuum.

I feel very honored to be a selector working in Los Angeles (and elsewhere!). I hope I can share some music for the next generation of young people to fall in love to. "

-----------------

I'm moved by what Linda writes here. #1 Doing what you love, and finding you are part of something bigger. Creating for yourself freely and hoping to inspire others with healthy amounts of care, humility, freedom, self awareness and enjoyment. (It is inspiring and I'm honoured we are now a part of sharing Linda's music). #2 There's something wonderful about finding connection and a sense of place. A place physical, spiritual and in time. Music can help us all find connection and be part of a place. Wheel it up wherever you are.

Seven years after the haunting resonance of Voids, electronic pioneer Martyn returns to the album format with Music For Existing. Arriving on 15 May 2026, the record is more than a collection of tracks; it is a profound exploration of what it means to remain devoted to a craft in an era of relentless noise.

The album’s announcement is heralded by the lead single "Heavy Sound." The track serves as the perfect bridge between Martyn’s past and present - a masterclass in tension and release that previews the album’s dialogue between the producer, the musicians, and the audience. We live inside a culture that has prioritised and monetised restlessness. The modern apparatus runs on the continuous production of "next," driven by algorithms that value novelty over depth.

Music For Existing serves as a love letter to the communal act of making music - something that is both healing and inherently defiant. For Martyn, a musician often finds solace in musical conversation with others; in the moment we press record, we simply exist together. This record is an invitation to build human infrastructure around what we love, leaning into the fluid nature of community and seeing exactly where the music takes us when we choose to listen.

The album is a sprawling, "off-the-grid" tapestry that echoes Martyn’s profound appreciation for jazz - free, instinctive, and bursting in every sonic direction. This collection features an expansive cast of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, and Mark Cisneros. The record is further elevated by the contributions of jazz talents Mischa Porte and Cees Bruinsma, alongside the evocative words of writer and poet Musa Okwonga.

While the acoustic textures and improvisational spirit of this record may feel like a departure, they represent a homecoming. Jazz has always been ingrained in Martyn’s work; even in his most stripped-back club tracks, the DNA of swing, syncopation, and free-form structure was always present, if not always visible.

Music For Existing marks the beginning of an exciting journey that will continue from the studio to the stage, celebrating the radical act of existing in the moment.

Trixie Whitley returns with 'Folded Time', her first full-length album in seven years and one of her most adventurous and rhythmically driven records to date. Written largely at the kitchen table of her Brooklyn apartment and recorded between Brussels, New York and Montréal, the nine-track album finds Whitley moving freely between rock, soul, R&B and more experimental territory.

Rhythm sits at the heart of 'Folded Time'. Whitley plays drums, bass, guitar and piano herself, with her love of polyrhythms running throughout the record. Heavy, slow-moving drums turn opener 'Carry' into a mantra, 'Fascinating and Fun' grew out of studio improvisation, while on 'Carnaval' Whitley and Cem Misirlioglu face each other behind two drum kits for what she calls a "drum rave". Her unmistakable voice remains at the centre, moving just as easily between restraint and raw power.

Across the album, Whitley looks at motherhood, womanhood, heartbreak, desire and forgiveness, and at how the past continues to shape who we become. It is a record about taking stock without standing still: instinctive and physical, but full of detail.

‘Finally’, the forthcoming new record from Catz ’n Dogz, belongs to the latter.

There are albums you listen to, and there are albums you live with. ‘Finally’, the forthcoming new record from Catz ’n Dogz, belongs to the latter.

Across sixteen tracks, Voitek and Greg have created their most creatively ambitious and emotionally open work to date. An album about relationships, friendship and the people and places that shape us. At its heart is a simple idea: music should make you feel something, and sometimes the most meaningful moments are the quiet ones when you finally have time to yourself.

Finally is rooted in the emotional contradictions that make memories so powerful. Inspired by classic American Folk and Soul, its songs are happy and nostalgic; hopeful without pretending that the past doesn’t exist. There is melancholy inside the euphoria and warmth inside the sadness, a constant interplay between looking back and moving forward.

The album begins with the soulful breakbeat glow of 'We’re Gonna Be Alright' featuring Ajii, before moving through the smoky jazz and piano-led intimacy of 'Dance For You' with Miller Blue and the bass-driven energy of 'Sun Goes Down' featuring Charlotte Haining. Closing with the reflective 'Miss You' featuring Mateusz Krautwurst, the record takes in a rich cast of vocalists, musicians and producers, alongside a series of deeply personal Catz ’n Dogz solo productions.

Those collaborations are central to Finally. The album is, in many ways, a celebration of the creative friendships Voitek and Greg have built throughout their journey. Relationships that have allowed them to step outside their comfort zone and rethink what their music can be.

Written and recorded between Madrid, New York, Warsaw and the road, the album finds the duo placing renewed emphasis on songwriting, chord progressions and musical craft. Rather than simply chasing the next track, they took the time to learn, experiment and create something with a sense of permanence.

This is an album for driving without a destination. For watching the sun go down. For remembering somebody you haven’t thought about in years. For those rare stretches of time when there is nowhere else you need to be.

UK techno lynchpin James Ruskin celebrates 30 years of Blueprint with a remastered edition of his 'Further Design' LP, releasing 4th September 2026. Founded by Ruskin and Richard Polson in 1996, the infl uential label has spent three decades documenting uncompromising techno through releases from the likes of Rommek, Kr!z, Truncate, and many more, with 'Further Design' originally landing in 1998. The anniversary celebrations have already seen Mark Broom revisit seminal Regis recordings on the 'Power Is Neutral' EP, with further releases from Kerrie, Nastia, and more to follow, alongside a merchandise run later this year.

James Ruskin has been a constant presence in techno for over three decades. He defi ned the sound of British techno through his DJ sets, productions, and the releases on his infl uential Blueprint label. His stripped-back, functional, and forward-thinking sound has remained utterly uncompromising, with performances at clubs and festivals around the world while never straying from underground ideals. Substance over trends has always been his MO, through a catalogue spanning Blueprint, Tresor, and numerous collaborations that remain timeless.

The purposeful titles of the tracks on this essential album hint at the minimalist approach to sound. This is bold, linear techno with 'Enter', 'Below', and 'Indirect World' kicking off with rolling low ends and smart sound designs that even now sound futuristic. The likes of 'The Divide' bring spangled synths and crunchy percussive textures that jerk you into motion, while 'Time And Place' is an immersive cosmic odyssey and 'Unknown Destination' melts the mind with liquid synth work that loops around hypotonic rhythms. 'Work' is another perfectly calibrated cut with meticulous percussive placement and the shimmering of bells that dissolve space and time.

It is testament to Ruskin's original vision that 'Further Design' remains as evocative today as it was upon its release, full of otherworldly imagery and grooves that continue to move dance fl oors around the world.

Setting a high standard for its inaugural release, new record label Sounds of The Blind Prophet announces SBP001, a powerful 12” vinyl collaboration uniting label founder Blind Prophet with worldwide Dub stalwarts Fikir Amlak and Vibronics.

The A-side, “Now Is the Time,” pairs LA-based vocalist Fikir Amlak’s commanding lyrics on community and self-reliance with a high-energy steppers riddim built by Blind Prophet and Vibronics. The flip delivers two raw dub cuts mixed direct from the board by Vibronics at his legendary Dub Cupboard Studio in Leicester, UK.

Embodying the core essence of modern Dub culture—conscious lyricism, driving percussion, and chest rattling bass—SBP001 marks an undeniable opening statement for Sounds of The Blind Prophet.

Powerful trio music by pianist Takehiro Honda, known for his strong touch and bluesy feeling, together with an American rhythm section. The album features a line up of compelling originals, including the overwhelmingly powerful "Minors Only" and the title track "Salaam Salaam," whose title means “peace” in Swahili.

XAMAN is the collaborative project of Dino Sabatini and Luigi Tozzi, where two distinct artistic paths converge into a shared musical language shaped through years of independent research and mutual exchange.

Across eight compositions, XAMAN takes shape through gradual transformation. Every element is introduced with intention, allowing subtle shifts in density, tension and space to shape the music over time, revealing its full form through uninterrupted listening.

Released as a double vinyl on Outis Opera Series, the curated imprint of Outis Music, XAMAN reflects a process shaped through listening, exchange and time.

80 g vinyl + 60 x 60 cm poster of original Big city life artwork)

Stirring the cauldron of sound. From the acclaimed album Big City Life, artists that Smerz admire put those songs through themselves, to become a friendly mirror and or an alternative documentation.
With Yrdloop, Astrid Sonne, NEW YORK, Haloplus+, Molina, Erika de Casier, Fine, They Are Gutting a Body of Water, MIKE, Zack Sekoff, Elias Rønnenfelt, Fousheé, ML Buch, Clarissa Connelly, Cezinando, Toxe, VVTZJ and Clairo.

Elastica’s iconic self-titled debut album is set to be reissued by Rough Trade Records on 2 October in a new edition boasting rarities and b-sides.

Striking their own, distinct path in March 1995, Elastica proved uniquely fresh-sounding as the London four-piece delivered on the reputation they had built up gigging around the capital beyond in the months ahead its release.

Home to the likes of Line Up, Waking Up and Connection, singles at once timeless yet in the moment, Elastica’s debut captured the fraying emotions, hazy experience and burning energy of life, love and after-hours adventure.

Absorbing atmospheres and attitudes of their post-punk and new wave forbears, Justine Frischmann (vocals, guitar), Annie Holland (bass), Donna Matthews (guitar, vocals) and Justin Welch (drums) poured their own identities into the album’s 15 tracks which balancing youthful swagger, with sage-like observation and a knowing cool that made Elastica and their debut effortlessly timeless.

We worked closely with surviving members of The Nerves, Paul Collins and Peter Case along with Jack Lee's daughter Cynthia to bring The Nerves - Best Collection to you.

Unlike previous releases that often relied on secondary copies or rips from vinyl and CDs, we were able to locate the original source recordings and have Warren Defever master/remaster them at Third Man Mastering in Detroit for this release. This is what makes this record so special—it features the definitive versions of these tracks as they were originally intended, some have not been heard since the day they were recorded. We hope you enjoy it.

We worked closely with surviving members of The Nerves, Paul Collins and Peter Case along with Jack Lee's daughter Cynthia to bring The Nerves - Best Collection to you.

Unlike previous releases that often relied on secondary copies or rips from vinyl and CDs, we were able to locate the original source recordings and have Warren Defever master/remaster them at Third Man Mastering in Detroit for this release. This is what makes this record so special—it features the definitive versions of these tracks as they were originally intended, some have not been heard since the day they were recorded. We hope you enjoy it.

By the time Michael Nau completed Popfly, the songs felt less like compositions than companions. Arriving in fragments, notebook lines, and fleeting observations, these pieces kept company for years until taking their final form. The result is one of Nau's most openhearted, expansive records, both homespun and otherworldly at once. Radiant folk melodies, tape-warped textures, and flashes of everyday wonder coexist in perfect balance on Popfly. Nau has never been a songwriter who forces songs into existence. Instead, he follows them, trusting intuition over agenda and allowing songs to gradually reveal themselves. Writing and recording often blur together, with melodies evolving before lyrics are finished and stray recordings forming the basis for new songs. Popfly showcases these creative detours: thoughtful folk songs, sonic experiments, and accidental beauty transformed into fully realized compositions. Many songs began at home, growing in meaning. Since he entered the Vermont studio, Little Jamaica, with longtime friend and collaborator Benny Yurco, many of them had already lived several lives. "Studio recording feels like covering my own songs," Nau says. This idea flows throughout: performances are lived-in, feeling effortless, as if assembling itself. The title track carries a flicker of wonder in its simple observations. "New Slack" moves with the loose confidence of a song content to follow its own path. On "Lost Station Hideaway," soft static and fading signals become something strangely comforting, as if the song itself is being broadcast from somewhere just beyond reach. Family and friendship are deeply woven throughout the record. Nau's children contribute vocals, bringing warmth and spontaneity to the album's communal spirit, with longtime collaborator and wife Whitney McGraw lending her serene voice. The harmonies that drift from them extend the album's central impulse of people gathering to make something beautiful. Across Popfly, loose-limbed folk songs mingle with homespun psych-pop, porchside country-folk, dreamlike atmospherics, and quietly profound observations. The record moves with the ease of conversation among old friends, finding beauty in tiny revelations, strange coincidences, and everyday mysteries. The record is full of transmissions from different moments in Nau's life, stitched together by instinct, affection, and time. Taken together, they form a portrait of a life spent paying close attention to the world and its small miracles.

JUDDER announces the second installment of its vinyl series, bringing together a diverse selection of artists united by their passion for experimental bass music. This time, the record is fully focused on a raw, soundsystem-driven aesthetic. On Side A, French producer Amor Satyr—known for effortlessly navigating between dembow, breakbeat, and techno—ventures into dubstep territory for the first time. On 'Over', he translates his signature style onto the genre’s foundations while retaining the distinctive energy that defines his sound. The record continues with a collaborative effort from Thematic and Nattah. ‘Aurora Pulse' is a cold, restrained piece of leftfield bass at 130 BPM, where a sharp, syncopated subline forms the backbone of the groove, pulsing like the heartbeat of a northern metropolis. Opening Side B, Dawn RAzor and Mani Festo deliver 'Awared', a track where techno and breakbeat converge through layered sound design and spring-loaded drum fills. As it unfolds, the composition gradually draws the listener into a hypnotic journey, dissolving familiar genre boundaries along the way. The release closes with ‘Lockjaw'—a true soundsystem slow-burner from Kahter and Mercy System. Broken tribal rhythms and a constantly evolving arrangement keep the listener suspended in a state of mounting tension, one that intensifies with every new detail introduced. Tracklist: A1 Amor Satyr — Over A2 Thematic & Nattah — Aurora Pulse B1 Dawn RAzor & Mani Festo — Awared B2 Kahter & Mercy System — Lockjaw

Tresor Records announces GODSPEED, a new EP from NVST, out on October 23, 2026. From its origins in the Motor City and through to the themes of interstellar travel, techno has always been a genre focussed on forward movement, a tradition that GODSPEED continues boththrough music and title.

The EP is a collection that brings to mind the spirit of early, non-conformist releases on Tresor, full of hypnotic synth loops, spacious FX, and breakbeats, yet with a crisp and modern sonic palette. Side A embarks with two tracks that combine a low, buzzing bassline with trippy melodies and percussion that ventures close to breaks and electro, while the B-side moves intothe fast lane with driving acid and more regimented drums. Digital bonus track "Firliner" combines both approaches across its seven-and-a-half minutes, as a buzzy bassline and spluttering beat ignite into a steady trance-induction.

The EP title arrived the way the best ones do: not so much chosen as absorbed from the aether, the word kept popping up during the creative process until it became the ideal name for this collection, given its connotation with setting out on a journey.
"You remember the nights where you've been on the floor for hours without realising how much time has passed, the conversations you can't fully recall, or how unexpectedly open you've been to everything around you. The music speaks the language of substance not as a statement, but as a way of describing perception. It's about experimenting with yourself, your body, your hearing, your emotions. About reaching a point where things that once felt permanent suddenly lose their grip, even if only for a moment. These recordings come from that place. They capture moments where movement replaces thought, memories blur into feeling, and vulnerability becomes part of the process. They're documents of a very
specific time, but also of something much more familiar: trying to lose yourself just enough to find a different version of who you are." NVST
This fast-paced forward travel is implicit in the word speed, but once this word indicated power or prosperity so that godspeed is a wish for success, forming an appropriate double meaning for this first full release of NVST on Tresor.

With his last three records all landing within a calendar year (2024-25), enigmatic Swedish producer Civilistjävel! (aka Tomas Bodén) is on a hot streak of releases, his singular vision increasingly ambitious and expansive. There are few artists working at this level so consistently right now, reinventing, revising and continually developing their language. Following on from 2025’s radically re-worked ‘Versions’ (of Mayssa Jallad’s ‘Marjaa…’), Bodén returns to break further fresh ground with his new album, ‘Älvgång’. Featuring contributions from Soccer Committee, Carrier and guest (aka Jabu’s Jasmine Butt), ‘Älvgång’ foregrounds a more brittle and insistent rhythm-based sound, whilst comprising his most broad-ranging collection of material to date.


‘Älvgång’ grew out of a series of sketches made from late ‘24 and throughout the whole of ‘25 at Stockholm’s renowned EMS Studios, which gave Boden free rein to its extensive collection of vintage analogue equipment and rare modular synthesizers such as the Serge and Buchla systems. As a loose framework of tracks began to take shape, so did a reflection of sorts, on family and foundations, underpinned or influenced by sounds that drifted into Tomas consciousness around this time - ancient Swedish pastoral music, Georgian lithurgical chants, gongs, chimes. An idea settled into place, a dedication to his Grandfather, as the earlier release Fyra Platser (tr. ‘Four Places’) was to his Grandmother. Älvgång is grounded with the sense of time and place of an old family photograph, with the tracks over each side bearing one of two names that are more or less the same location - Strinne was the old name for a this loose collection of villages. These days it is more commonly known as Bjärtrå. Metaphorically speaking, the river runs through both.


Civilistjävel! conjures so many adjectives and descriptors, ‘glacial’ and ‘ambient’ frequently among them - but while not altogether untrue, such terms belie the tension and drama so often present in Tomas’ music. Listening to ‘Älvgång’ is not a passive experience. The eight tracks here feel like a patchwork of memories that bathe in the same ethereal, otherworldly glow of Tarkovsky’s polaroids’.


The machine pulses that dominate this landscape are reigned in and tempered by a human hand; lithe, untethered coils, breathing in and out. ‘Strinne Ett’ sets out with purpose, sensing awe and wonder through the murk, but as the final tone unfurls like a question mark, another chapter begins, unfolding/building like a Tarjei Vesaas novel. These lyrical, abstract miniatures combine to reveal a wider context, fragile humanity standing alone against nature.


Guest appearances on Civilistjävel! records have become a regular occurrence (including recent collaborations with Mayssa Jallad, Laila Sakini, Cucina Povera, Thomas Bush, Eldon + Withdrawn), but are used sparingly and with increasing precision. On ‘Strinne Tre’ Mariska Baars’ (Soccer Committee) voice feels like a balm, a clearing. But as her simple, three-word incantation drifts further into fog, the meaning changes, and her words seem to curdle. Carrier’s beats widen the parameters on ‘Strinne Fyra’, a skittering promise that builds tension then refuses to release it; all false starts, Photek gongs, and trinkling modulars. Jabu’s Jasmine Butt pulls all the threads together for the final track, Thomas Tallis’ ghost walking over offset machine impulses, that work against their own symmetry.


Side two begins inquisitively, scanning bleached, alien surroundings, its sparse pads recalling Aphex Twin’s ‘Selected Ambient works Vol 2’. 'Bjärtrå Två’ picks up the baton from ' Strinne Fyra’ with a ruptured Simmons SDS200 analogue drum synth set free from its shackles, the rhythm eventually slotting into the spaces that were hiding in plain sight. What follows seems like an epiphany; ‘Bjärtrå Tre’ is achingly beautiful, a euphoric, winding ascent that leads to devotional plainsong. ‘Bjärtrå Fyra‘s final unheralded shift feels both tragic and haunting.

Phenomena begins with two artistic voices that seem to speak different languages. Barcelona-based producer R-010 (Lucas Rojo) approaches composition through rhythm, space and electronic transformation; Madrid-born vocalist and multidisciplinary artist Venerandi through texture, breath and the expressive possibilities of the human voice. By the time the album reaches its final moments, that distinction has quietly disappeared.

Rather than functioning as a meeting point between two individual practices, Phenomena gradually
becomes a third language—one that belongs to neither artist alone. Voice no longer sits above the music
but moves inside it, dissolving into layers of synthesis, percussion and guitar until performance itself
becomes another malleable sound source. Likewise, electronic production never behaves as a fixed
environment; it constantly adapts, absorbs and responds, allowing acoustic gestures and digital
manipulation to reshape one another in real time.

This continuous transformation defines the record more than any particular genre ever could. Echoes of trip hop, bass music, psychedelia and experimental electronics drift across its surface, yet they are never
presented as stylistic markers. Instead, they appear as temporary states within an ecosystem that remains
in constant motion, where dense rhythmic passages collapse into suspended atmospheres and moments
of stillness carry as much weight as those driven by pulse.

The presence of Matteo Caro (guitar and percussion), Pablo Gorostiaga (guitar) and Alessio Rodolico
(percussion) further expands this dialogue. Their contributions are not decorative additions but structural
ones, gradually dissolving the distinction between composition, improvisation and production. Instruments
emerge, mutate and disappear inside the same sonic fabric, making it increasingly difficult to distinguish
what was performed from what was transformed.

With Phenomena, Lapsus Records presents a work that feels less interested in crossing genres than in
questioning the borders between artistic identities themselves. The album never asks the listener to decide
where the human ends and the machine begins. Instead, it quietly suggests that, after enough careful
listening, the question itself may no longer matter.

Hector Gannet have always known that place and music are inseparable. For songwriter and guitarist Aaron Duff, North Shields high on England’s north east coast, shaped by fishing, shipbuilding, and the sea, is not just a backdrop but a source. Everything flows from it: the imagery, the politics, the particular stoicism of people who absorb more than their share and keep moving anyway.

‘The Great Shakedown’, their third album, is where that source runs deepest. Featuring bold brass arrangements alongside choir and church bells recorded live at the 17th-century Christ Church in North Shields, the album is Hector Gannet’s most ambitious and most searching work. The brass is a constant throughout: driving the Dexys-style urgency of the title track, lounging through the jazz-tinged Big White Telephone, surging euphorically through singles The Mother Tongue and Seven Signs.

The singles capture something essential about the album, euphoric on the surface, quietly devastating underneath. Beneath its propulsive brass lies an examination of stoicism as both armour and wound, of shared language used to avoid saying the very things that need to be said. It’s a quality that runs through the whole record, which looks at human history and art, the ordinary and the extraordinary, the actions of those in power and the communities who live with the consequences. It is both communal and euphoric - a powerful rallying cry for people at a time when we need it most.

The portal opens for a seventh time.

A Portal To The Unknown – 7 Rotations of Neptune Discs brings together 12 producers across a double LP. Tifra and Match Box return following their own ep’s on the label this year, joined by familiar contributors Wigs, Aiden Francis, Jeku, Cybernet and Mahkina. COZi, Dive Crew and Thurlow Joyce make their first appearances, with Milès Borghese and Biodive completing the four sides.

Run independently by Astro from Edinburgh, Neptune Discs treats the exploratory ideas of ’90s and early-’00s club music as unfinished business. Prog, trance, tech house and dub techno remain reference points rather than templates, with more than 50 releases—and the arrival of Jupiter’s Depth and Pyramid Fields—allowing that identity to keep developing.

Wigs’ “Strangers” and Aiden Francis’ “Uno” bring warped, driving prog. COZi makes his Neptune debut with “Ride The Snake”, a lean, stripped-back tech-house roller that brings early-2000s economy into the present. Jeku follows with “Droop”, a trippy, ozone-soaked slow roller, while Thurlow Joyce closes with the warm, deeply submerged dub techno of “Sundowner”.

Beyond the vinyl, three digital exclusives expand the release: Bert Vesper’s “Babbel Truc”, Azzecca’s “Home” and Foley’s “What Could’ve Been”.

Featuring artwork by theAJM, the release is pressed across two 12-inches, distributed by One Eye Witness and arrives on 23 October 2026.

Built with the immediacy that comes from limitation, iPhone Grime is almost exactly what it says on the tape case. Pulled directly from the portable communication device of Front Left Life's Louis Payne, iPhone Grime is the perfect distillation of raw ideas through a simple medium. When producers can drown in the infinite possibilities of the DAW vortex, a simple phone app can steer you swiftly to the sharpest results. Snippets of real world sound captured on the mic ground these quick-fire beats in a time and place, dynamic and street-level like grime and early dubstep was when it was being imagined on PlayStation games and filmed on ropey phone cameras.

Payne is undoubtedly bringing perspective to his sketches, having forged a connection with London's club scene through his part in the widely hailed Front Left Life parties in Catford, at Venue MOT and elsewhere. With a roll call of guests that cuts a sharp line through the best of bassweight club music right now, his taste and knowledge precedes his first steps into the production arena. Rather than puzzling out the path to a thousand likes for a hardware jam reel, he's opted for a direct line between his brain and the beat at the end of it.

You can hear the naivety behind vocal loops like the one nagging away on 'Follow That', calling to mind the first time you ever tried making a Fruity Loops beat. But these are no amateur throwaways — the technology has moved on and Payne's instincts guide him towards legit constructions that could easily do damage in the club. Sometimes they exist as no more than an eight bar loop, while others like 'Wind It Up (Dream Dealers Version)' or 'Extra Dimensional Being' stretch an idea out. Throughout it all, the looming throb of square wave bass glues the record together and anchors the grime dimension of Payne's job lot of phone jams.

Payne's work is all his own, and the snatches of real life around the beats anchor this music in his own London life. But, like previous shifts in technology and accessibility, iPhone Grime also raises an important prospect—that anyone with one of these apps, a Bluetooth speaker and an idea can bring music out of studios and into the world. History has already proven, when that happens the possibilities become thrillingly unpredictable.

Melissa Weikart and her piano have proceeded through life in step, from her early classical


training to the experimental practice that defines her work today, a blending of sounds and forms that has never been so clear—and so fully realized—as on her new album, Contact. Across twelve shifting and evocative tracks that examine the connective tissue binding us to ourselves and others, the Franco-American musician’s voice and piano navigate personal and emotional terrain with clarity and nuance, forging a rich dialogue between artist and instrument, artist and self, and artist and listener.


Winner of the 2022 Nancy Jazz Pulsations emerging artist award and the instrumentalist prize at the 2023 La Défense National Jazz Competition, Weikart has released two EPs and an album as a solo artist, and one EP and an album—Surprise and Secret—with her electronic duo Beatrice Melissa. A student of jazz and ’70s folk-pop, and a keen lover of improvisation since her time at the New England Conservatory in Boston, Weikart has always conjured the confessional candor of the singer- songwriter in her music, even as she dispenses her lyrics across rich, shifting, dreamlike tableaux.


On Contact, written and arranged entirely by Weikart (aside from “New angles”), she pushes her sound further than ever before. The album is animated by a pressing need for connection, observing what brings us together and what drives us apart, and the life-saving revelations that emerge along the way. The album’s opener, “Crash,” is a dreamy telephone-hour ode, a message in a bottle, to connections new and old. On the wistful “Mesurer le vent,” Weikart conjures Debussy or Ravel, layering contrasting sounds like an Impressionist painting. The title track begins as a showcase of Weikart’s frank lyricism, a splice-reel of missed connections and wasted time, then glides into a hazy, euphoric galaxy of pleas, circling around her thesis—“I wanted to make contact”—that ushers us into “The Intersection,” a song that recalls her the beginning of her career, when it was just Weikart and her keys. “Appétit.e” is built around a sample of her down-the-hall neighbor’s drumming—another subtle, affecting gesture toward proximity and connection—while pulsating synths reminiscent of Air lend the track an unsteady atmosphere. On the Carpenters-inspired “Expectations,” Weikart muses on the relationship patterns, universal and specific, that have always been a hallmark of her songwriting.

The psychedelic “L’amour de construit” is a slow-motion fall down the rabbit hole, as Weikart
considers the way her own emotions are captured and commodified by the confining ways we think about love. The interlude—“L’amour pt. 2”—finds her near the end of that trip, shouting into the void as a last-ditch effort to rescue herself from the fall. The drums near the end of the interlude warn us that there may be no cushion for, until she is saved, again, by the power of revelation, on the confident, resilient “Not Right”—on which a show-stopping, frenetic conversation between singer and piano is gracefully interrupted by a rush of transcendent strings, lifting her back up.

On solid ground anew, “New angles,” featuring Manu Delta, creates a percussion-less groove that relies on experimental synth sounds. The 11-o’clock stunner “Catching up”—composed in a church—meets the singer in a state of ecstatic confession, bringing her to the formative memory that propels “Bicycle,” the album’s closer. Younger, more wide-eyed, she reflects on her move from Boston to Strasbourg, those early days, when Weikart had no other companion than that loyal hunk of scrap metal that took her to the shores of her own soul. She seems to suggest, on “Bicycle,” that a backward-glance is not always troublesome, not always anxiety-producing, but can be grounding: a reminder of where we come from, so that we can keep moving forward.

Tommy Lefroy has never been afraid of existential questions. From their critically acclaimed debut EP, Flight Risk, the band has captured audiences with their candor wrapped in wit. Both lyrically intimate and sonically vast, the band’s catalog is confessional and commentative, balancing irony with sincerity. They broach their biggest subjects yet on their first full length album, The Precariat. An economic term, the precariat refers to a growing class of people facing increasing instability. “Most people we know are experiencing an unprecedented level of precarity, permeating into the collective psyche. We feel like the best we could strive for in a body of work is an unflinching capture of the moment. The Precariat felt like the perfect title, and emblem of how it feels to be alive these days.” Recorded in Los Angeles at Blue Canyon Studios, The Precariat was produced by band members Wynter Bethel and Tessa Mouzourakis, with co-production from Stephen Sesso, and executive production by Mike Crossey (The 1975, Wolf Alice, MUNA). The album’s songs were written by Bethel and Mouzourakis, over the tenure of their friendship, across apartments and tour vans, phone calls and late night conversations. With themes of friendship, coming of age, personal and collective grief, environmental uncertainty and political decay, The Precariat offers a sonic landscape in which to contend with our rapidly changing world. The album’s title track (largely inspired by Springsteen’s critical narratives mistaken for bleeding heart patriotism) grapples with constant exposure to global suffering, and feeling entrenched within systems that fail us. “The Precariat” disintegrates into the ‘American cities’ outro, an idea started while the band lived in London, about missing home while watching it destabilize from afar. The Precariat faces this head on – all the sheen of the American empire has worn off, and there is much work to be done. “We hope to foster an antidote to precarity – community.”

Following the acclaimed Milano Undiscovered, Italia Undiscovered and Italia Synthetica series comes Italo International: a new collection celebrating the enduring legacy of Italo Disco. Eight exclusive tracks by established European artists reimagining one of Italy's most influential musical movements with originality, respect, and a contemporary vision.

Italo International is a journey through the many shades of elegant and visionary electronic music, moving between Italo Disco, Synth Pop and dancefloor-oriented sounds. The talented and steadily rising Polish producer Rafał Lachmirowicz, aka Also Playable Mono; Hungarian artist Gianni Durante, aka Electro Potato, who for years has been bringing back the sound of early-Eighties Italo Disco with passion and a contemporary sensibility; Norwegian Tommy Holsen, aka DJ TinTin, who together with the Eighties band Go explores the classic sounds of Nordic Synth Pop; British producer Mark Wilkinson, aka Kid Machine, who for over fifteen years has been creating productions made for the dancefloor; Tyrell Corporation, the alias of Dutch producer Alden Tyrell, who joins forces with Italian duo Italoconnection to rework a track destined to set the dancefloor on fire; Swedish multidisciplinary artist Tobias Bernstrup, who for three decades has been reinventing the more sophisticated side of Italo Disco with elegance and a distinctive vision; the Dutch project Sfera Celeste Project, which blends Moroder-inspired sounds with a hypnotic minimalism reminiscent of Jeff Mills; and, closing the journey, British artists Heartbreak, Ali Renault and Sebastian Muravchik, with a poignant and slow-burning excursion into the melancholic world of Synth Pop.

Listen!

Klara Lewis’ distinctive talent for disfiguring sound into forms that remain recognisably song-like reaches a new peak here. Her new album Opening is a deceptive recording with veiled melodies and clandestine bangers.

Lewis, creator of worlds, treats music as a mirror that reflects a perspective misaligned with the real image. Her music moves in unusual and often startling ways. Acoustic instruments such as ukulele and piano are subjected to processes of deconstruction and reconstruction, their original forms continually reshaped.

The tracks within Opening offer an array of disorientating tactics; damaged field recordings are suddenly sliced into ominous rhythmical patterns whilst deceptively simple tactics provide foreboding dread. Often alien on entry, the progression of a piece can land in a surprising tenderness, or the other way around. The momentum grows as a physical state but also one which is questioning, desiring, encapsulating a feeling, to explore a further way of expression and ultimately connecting: A new closeness, a new perspective.

Opening is an album in which the protagonist’s manipulation of sonic matter seems to extend beyond the music itself, resulting in a corresponding manipulation of the active listener. Sounds shift, dissolve, and re-emerge in altered forms, creating an experience that feels both intimate and disorienting. Lewis maintains a delicate balance between abstraction and emotional immediacy, drawing the listener into a world where familiar musical gestures are constantly reconfigured in surprising ways.

The works on Opening are refracted through an exploratory and transformative lens, suggesting an artist continuing to redefine the possibilities of musical language as a space where the instantaneous and the eternal come together.

Music by Klara Lewis. Mastered by Stephan Mathieu. Cut by Andreas Kauffelt at Schnittstelle, Berlin. Artwork by Klara Lewis. Design by Klara Lewis & Nik Colk Void. Images from ”En Masse” by Circa, directed by Yaron Lifschitz. Dancer Holly-Rose Boyer.

Published by Mute Song. Released by Editions Mego© 2026

”Tide” commissioned for compilation album "Dissolving Strawberry" (2020), released by Irrlicht. ”Drip” and ”Feel” originally composed for the film ”Failed Emptiness” (2024) by Mika Taanila.

Partner in crime: Hampus Högberg.

Mit „Best Of Argentina“ erscheint eine unverzichtbare Sammlung der beliebtesten Songs einer der markantesten Stimmen der Italo-Disco-Ära. Die farbige Vinyl vereint die größten Erfolge der Kultkünstlerin und bringt das einzigartige Lebensgefühl der 80er Jahre zurück.

Freuen Sie sich auf zeitlose Dancefloor-Klassiker und unvergessliche Melodien, darunter die legendären Hits:
Baby Don‘t You Break My Heart
Let‘s Play Sexy Games

Mit ihrer unverwechselbaren Stimme, eingängigen Melodien und den typischen Synthesizer-Sounds der goldenen ItaloDisco-Zeit begeisterte Argentina Fans auf der ganzen Welt.

Diese Best-Of-Zusammenstellung bietet die schönsten Momente ihrer Karriere auf einer LP

Kay Slice’s music is more than meets the ear. He channels a movement. His sound moves beyond borders, blending highlife rhythms and poetic verses into a sonic force that connects the soul of Africa with its scattered children across the globe. Slice is rooted in legacy but speaks to the now. Bold, layered, and deeply aware.

This isn’t fusion. It’s ancestral alignment with a futuristic edge.

From the electrifying grooves of West Africa to the sharp truths of hip-hop, Kay’s music isn’t merely entertainment; it’s a cultural awakening. His performances are highlights: Ghanaian drums, balafon chants, and rhythmic prophecy shaking stages to their core. His storytelling is vivid, raw, and intentional. The immigrant experience reimagined through sound and soul. And as Kay says about this new single, “Moving with purpose, driven by the will to put in the work. The time is now to raise Mother Africa.”

Following his powerful debut From Back To Back (2022), Kay is stepping into full artistic clarity. In 2026, it all comes to a head with Kay’s next album, scheduled for autumn 2026, forged across borders, driven by the spirit of his Ghanaian ensemble and a love letter to highlife, elevated with modern energy.

No longer bound by survival, Kay is moving like a general of sound. Leading with grace, grounded in legacy, but always forward-moving. His shows? Think rituals. Think liberation. Think sweat, spirit, and rhythm. Kay Slice isn’t finding his voice. He is the voice of diasporic pride, ancestral rhythm, and future Africa.

GERMit Everything in Readiness legt Shovel Dance Collective sein drittes Album vor und bestatigt damit die Ausnahmestellung des neunkopfigen Ensembles innerhalb der aktuellen Folk-Renaissance Großbritanniens. Aufbauend auf der Resonanz der Vorganger The Water is the Shovel of the Shore und The Shovel Dance entwickelt die Gruppe ihren Ansatz konsequent weiter: Traditionelle Lieder werden aus unterschiedlichsten Quellen zusammengetragen, neu arrangiert und zu vielschichtigen Klangcollagen verwoben. Dabei verbindet das Kollektiv akustische Instrumentierung, Improvisation, experimentelle Aufnahmetechniken, Field Recordings und gemeinsame Gesangsarrangements zu einem unverwechselbaren Gesamtbild. Inhaltlich rucken soziale, politische und historische Perspektiven in den Vordergrund, ohne den Charakter der uberlieferten Songs zu verlieren. Erscheint auf dem tak:til-Imprint von Glitterbeat Records und positioniert sich gleichermaßen fur Folk-, Experimental-, Avantgarde- und World-Music-Kundschaft.[ENG]The nine-piece ensemble Shovel Dance Collective have been at the forefront of the resurgence of interest in traditional music since they came together in late 2019 and their two albums thus far - "The Water is the Shovel of the Shore" and "The Shovel Dance" - have been celebrated within, and far beyond, the confines of the folk scene in the UK and internationally.After recent acclaimed releases from artists such as Brighde Chaimbeul, Sirom, Alison Cotton and Cerys Hafana, Glitterbeat's tak:til imprint feels like a natural home for their exhilarating third album "Everything in Readiness".

Following the success of the inaugural all-Jiri Jiri edition, Batov Records returns with the second instalment of its Give Me Disco series, once again curated by label co-founder and globe-trotting selector DJ Kobayashi. Rather than revisiting familiar disco classics, Give Me Disco Vol. 02 digs deeper, bringing together four dancefloor discoveries from across Europe and Asia, including two previously unreleased tracks available here for the first time.

Spanning Portuguese jazz-funk, Norwegian cosmic oddities, Japanese-inspired psychedelic disco and cinematic groove, the EP reflects the breadth of Kobayashi's record bag - a carefully assembled selection of tracks that have soundtracked his DJ sets for years alongside exclusive material rescued from the vaults.

Opening the record is The Bam Jam Band's brilliantly understated "Theme", a soaring slice of jazz-infused disco from Portuguese musicians Sérgio Alves and Pedro Tenreiro. Originally released only as a now long-sold-out 7 inch on Mad About Records, the track has become one of Kobayashi's trusted secret weapons, championed by discerning selectors including Darryn Jones and Red Greg. Built around Alves' dazzling synthesiser work, "Theme" finally gets the wider audience it deserves. The EP's first exclusive arrives courtesy of D. Apal, instrumentalist and member of Norway's Flammer Dance Band. His only solo release, issued on the band's Lysketrekk Records, has become a cult favourite among adventurous record collectors. Batov now unveils the previously unreleased "60 Meter'n (Rytme)", an extended instrumental dub that strips away the vocals to let the handclaps, cavernous bassline, dub effects and wonderfully eccentric synthesisers breathe, transforming an underground favourite into an irresistible dancefloor weapon.

Side B opens with YĪN YĪN's "Tokyo Disco", taken from the band's acclaimed third album Mount Matsu on Glitterbeat Records. Long-time admirers of the Dutch quartet, Kobayashi has championed them since first hearing the breakthrough pairing of "Dis ̄ kô Dis ̄ kô" and "Dion Ysiusk" on Bongo Joe. Since then, he has hosted the band twice on Soho Radio and supported them live in London. "Tokyo Disco" perfectly captures YĪN YĪN's distinctive blend of Japanese-inspired psychedelia, Southeast Asian influences, post-punk funk and shimmering disco grooves, making it a natural fit for the Give Me Disco series.

Closing the EP is another exclusive from Jiri Jiri, whose contribution helped launch the series on Vol. 01. Ahead of their forthcoming album later this year, the duo unveil the previously unreleased "Spaghetti Western", a wonderfully off-kilter fusion of Morricone-esque cinematic atmosphere, taut funk rhythms and the soulful modern groove of SAULT. Equal parts soundtrack and dancefloor curveball, it provides a fitting finale while offering another tantalising glimpse of what's still to come. With two exclusive cuts sitting alongside two carefully chosen modern classics, Give Me Disco Vol. 02 is another lovingly curated snapshot of DJ Kobayashi's musical universe: borderless, groove-driven and unapologetically built for adventurous DJs, discerning collectors and open minded dancefloors alike.

The songs of Jules de Corte are condensed, folky gems with an almost effortless charm. Poised between the intimate and the universal, between lightness and darkness, they touch on religion, love, loss, and the small dramas of everyday life. Yet they resist easy translation. Packed with wordplay, de Corte’s signature alliterations, humor, and local cultural references, the songs inevitably lose something in another language. Still, when a Belgian quartet of improvisers takes them on, joined by American songwriter Bonnie ‘Prince’ Billy, the songs are reborn rather than merely transposed: literal fidelity gives way to interpretation, and what is lost in words is often gained in spirit.

Even without tracing every change, their overall effect is fascinating. Songs are slowed down, often doubled in length, and filled with unexpected musical intrusions. They gain fuller arrangements and are placed in an entirely new context. Replacing de Corte’s piano with guitar can create a radically different vibe, as in “Mariska.” An added solo can heighten the contrast between childlike perspective and the almost matter- of-fact brutality of “Little Anita.” In “The Stranger,” another use of contrast unsettles the everyday harmony, transforming it with a subtle, disorienting twist.

Ultimately, these performances show that interpretation is not successful simply because it is literal. With the groundwork laid by Linus, Bonnie ‘Prince’ Billy further liberated the songs from their original versions. Lyrics and melodies become malleable, shaped by his recognizable cadences, timbre, and personal quirks. Like his collaborators, he allows himself the freedom to bend the material to his own approach. There is no radical break between this performance and his other records. Listeners familiar with the originals may be puzzled at first; for those new to de Corte, it is a wholly different experience.

Does it really matter that the original “Little Jesus, Mighty God” is a 100-second nugget combining playful naivete with biblical fervor? In the hands of these five explorers, the song becomes an intriguing contemplation, with subtle musical shades and a recitation in which every syllable carries a maturity that offers a new perspective. Then there is “The Outsider,” which feels as genuine as any original American folk song. The musicians’ process is more than reinterpretation—it is reimagination, bringing new musical compatibility and emotional depth. Whether that depth was there from the start, waiting to be uncovered, or created in the process is beside the point. What matters is that Linus and Bonnie ‘Prince’ Billy have made the essence of these songs their own, paying homage yet dancing to their own tune.

Linus is the Belgian duo of guitarist and banjo player Ruben Machtelinckx and reedist and synthesiser player Thomas Jillings. Across five previous albums — Onland (2014), Linus + Skarbø / Leroux (2015), Felt Like Old language at the crossroads of folk, jazz, minimalism, chamber music and free improvisation. Their music is adventurous, shaped by a particular sensitivity to texture, timbre and the subtle interaction between musicians.

What began as a duo gradually grew into a flexible musical world, bringing Linus together with musicians such as Nils Økland, Ingar Zach, Niels Van Heertum, Øyvind Skarbø and Frederik Leroux. Yet each new constellation has remained recognisably Linus: music in which carefully considered forms leave space for intuition, interaction and the unexpected.

For their sixth album, Linus takes a new step by moving into the world of song and text. Inspired by a shared love for the late Dutch songwriter Jules De Corte, the album is a reimagining of De Corte’s unique repertoire. More than simply interpreting De Corte’s songs, they absorb and reshape them, bringing them into dialogue with their own musical language. In keeping with this open approach, they are joined by celebrated vocalist Bonnie “Prince” Billy. With albums such as 1999’s I See a Darkness appearing on several greatest album lists, Bonnie “Prince” Billy is a cult figure in the alternative folk scene, and his highly intuitive way of singing seamlessly matches the subtle interplay Linus has developed over more than a decade.

The LP blends unique rhythms and instruments, producing timeless tracks like "Canto de Ossanha."

Carlos Benedetti, a Colombian house producer and live performer from Cali, has steadily become one of the standout names in today’s underground dance scene. Following multiple vinyl releases on the acclaimed German label Disco Disco, Benedetti’s productions have earned widespread praise and support from respected figures including deep house icon Cinthie.

Specialists, selectors and collectors alike have described his records with comments such as:
“fabulous 12-inch”
“This is the most wild dance record to come out this year so far”
“Cannot formulate the words to capture how this one sounds and makes me feel”
“Listen close and behold.”

With this latest EP for SUPREME STRIKER, Benedetti once again delivers a collection that feels destined to become a future underground classic.
The record opens with Nostalgia Blues, a soulful and deeply textured piece channeling the spirit of Larry Levan’s legendary dancefloor energy, somewhere between disco’s emotional golden age and modern club functionality.
On Bellavista, Benedetti dives deeper into high-energy territory, layering powerful black grooves, hypnotic rhythmic tension and rich percussive movement into something both vibrant and timeless.
Pyramid follows with soaring arpeggios and delicate melodic flourishes, recalling the euphoric sophistication of Todd Terje at his most inspired, while maintaining Benedetti’s raw dancefloor sensibility.
Closing track How High The Moon nods toward Patrick Cowley’s pioneering synth work, injecting the EP with cosmic disco pressure, futuristic funk textures and a strange late-night sensuality.

More than a simple collection of tracks, the EP unfolds as a fully coherent journey through house, disco, Italo and high-energy mutations, balancing emotional depth, machine-driven grooves and timeless dancefloor instinct with remarkable naturality.

Every coastline develops its own rhythm. The Adriatic is no exception.

For decades, Italy’s eastern coast has been shaped by funk, Cosmic Disco, Balearic sounds, Italo Disco, House, Latin rhythms, Brazilian music and countless other influences. Rather than blending into a single style, these musical worlds have lived side by side, constantly inspiring new generations of DJs, musicians and dancers. For more than fifteen years, Soul Fingers and Funk Rimini have explored that landscape from different perspectives. Founded by Claudio Cavallaro in 2013, Soul Fingers grew into a vinyl-driven community where groove matters more than genre. Its philosophy has always been simple: if the groove is right, genres stop mattering. Brothers Ricky and Francesco Cardelli developed Funk Rimini into a project rooted in funk, disco, live performance and electronic production. Anima Adriatica is where these two journeys meet.

The project didn’t begin with the ambition of making an album. It began behind the turntables. As DJs, Claudio Cavallaro and Ricky Cardelli found themselves constantly searching for records capable of connecting distant musical worlds inside their sets; from Afrobeat into disco, from hip hop into Latin, from Brazilian grooves into boogie, from cosmic electronics into deep funk. Sometimes those records existed. More often, they didn’t. So they stopped searching and started writing them. Not records designed to belong to one genre, but records designed to travel between genres. That space between musical worlds became Anima Adriatica.

The music grew through spontaneous jam sessions with Ricky and Francesco Cardelli, drummer Enrico Mao Bocchini and, gradually, a wider circle of musicians, singers and longtime friends, making Anima Adriatica less a traditional band than the beginning of an open collective. Recorded at SynthPosio Studio, founded by Ricky and Francesco Cardelli inside Rimini’s iconic skyscraper, the project also carries a symbolic connection to the building itself, where many Italo Disco classics (including records by Betty Miranda, The Creatures and many others) were recorded decades earlier.

Betty Miranda returns not as a nostalgic guest, but as a bridge between generations. On the title track she performs a spoken-word text written by Claudio Cavallaro, reflecting on the invisible thread connecting the Adriatic dancefloor across time. From Baia degli Angeli to Cocoricò, from the legendary clubs of Riccione to today’s independent communities gathered around projects such as Soul Fingers and Funk Rimini, the places have changed, but the dancefloor continues to tell the same story. Much like Pier Vittorio Tondelli’s Rimini captured the Adriatic through literature, Anima Adriatica imagines its soundtrack.

Brazilian musician Daniel Plentz (Selton) expands that vision on Açúcar and Alegria, bringing another coastline into the story. Across its four tracks, the EP moves naturally between analogue funk, boogie, Brazilian music, underground disco, cosmic textures and the wider Black musical tradition, with All Down The Line paying tribute to the Paradise Garage era.

Released by Bordello A Parigi, the project found its natural home through a shared love of adventurous dance music, records and club culture. More than the title of an EP, Anima Adriatica marks the beginning of an open collective; a meeting point where musicians, DJs, producers and friends continue building bridges between genres, generations and communities.

Because Anima Adriatica doesn’t live inside a genre. It lives between genres. If soul music has always reflected the places where it was born, Anima Adriatica is simply our own Adriatic Soul.

Pirka Vinyl Cuts hits its 11th volume with a nod to the classics, leaning heavily into revered disco and house chops.
Stripped back for maximum impact, these edits flip instantly familiar vocal hooks and grooves into high-grade DJ weapons, revitalizing peak-time sets with a sharp, contemporary edge.

Dani Labb is a thunder bolt. A hardware head whose level of craft is felt instantly. Studio hibernation isn’t for everyone, but for those willing to give it all to the buttons the results can’t be overlooked.

This Argentinian artist has got the sauce, delivering four razor sharp club-focused tracks as the first release from new London label Acrylic Moves. ACMOVES001 is a naughty piece of dance floor weaponry. Scenes change and wackness vultures on, but the presence of fat-offtracks like these on a good system is an easily digested reminder of what truly makes us tick. Dani Labb is that reminder.

We're back in quick succession with release number nine, this time welcoming talented UK artist Front Bench to the label.

Following the launch of his own imprint, 199, and its debut EP earlier this year, Richard returns with his second release. Across four versatile tracks, he delivers a collection built for a range of spaces and occasions, with each cut unfolding gradually through evolving textures and finely layered arrangements.

Toneblind continues charting its course with a second release for 2026: TB03 presents four sleek, spherical groovers from AI Robot.

A relatively new project of Romania’s Calin Dumitrescu, with previous releases via EYA and Lirica Archives, the Damage Control EP is AI Robot’s most focussed release to date. All four tracks fit snugly with Toneblind’s developing vision: sci-fi inflected, craftily contemporary, dancefloor tested and ready for immediate play.

Side A is perfectly primed for peak time, with the playful vocal snippets of ‘Random Factory’ and slinky, snaking bass showing of ‘Damage the Disco’ providing serious fun. Side B is more pensive but still propulsive, with the bubbling arpeggiations of ‘Take Control’ and spiralling synth lines of ‘Bridge to Bliss’ already both Toneblind sound signatures.

Originally released in 1989, “Synthesis” is the debut full-length album by Artefacto, a pioneering Mexican techno-pop band formed in Tijuana by Bola Modelevsky, Roberto Mendoza and Melo Ruiz. With its distinctive blend of electronic rhythms, synthesizers and futuristic pop sensibilities, the album became an important and highly sought-after release within the Mexican electronic music scene. Despite the album’s innovative sound and the interest surrounding it at the time, “Synthesis” was mysteriously held back from a wider release.

“Synthesis” has since become regarded by collectors as one of the essential releases of Mexican techno-pop, with tracks such as “Complejo de Amor” and “Mundo sin Viento” remaining enduring classics. “Mundo sin Viento” was later featured on “Back Up: Mexican Tecno Pop 1980-1989”, the influential compilation released by Dark Entries, helping introduce Artefacto’s music to a new international audience.

The story of Artefacto and its creators did not end with this chapter. Its members continued to explore new musical territories through projects such as Artefakto, Panoptica, Nortec Collective, and Klansoff, continuing their creative journey within Mexico’s evolving electronic music scene.

For this new edition, “Synthesis” has been newly remastered from the original master tapes and is presented on transparent red vinyl, limited to 350 copies and including a reproduction of the original lyrics insert.


For its second outing, Sonum invites Matteo Point, whose Acid People EP expands the label's catalogue with four cuts navigating the space between acid house, progressive textures and analogue-driven club music.

The title track, "Acid People," sets the tone with tightly wound 303 sequences, sparse drums and a hypnotic sense of momentum, landing somewhere between functional peak-time tool and late-night trip. "Fresh Morgen" follows with a rolling low end before gradually unfolding into darker, more melodic territory, recalling the subtle tension of late-'90s European underground records.

On the B-side, "Musika Progressiva" revisits progressive house without falling into nostalgia, reshaping familiar motifs through a contemporary lens while maintaining its analogue warmth. Closing cut "Vvvaneggg" shifts towards Detroit-inspired rhythms and understated machine funk, offering a stripped-back groove built for patient selectors.

Across four tracks, Matteo Point delivers a collection that feels both immediate and enduring—club-focused without sacrificing character. With Acid People EP, Sonum continues to carve out its own space, championing records that draw equally from the past and the future of underground dance music.

Based in Cornwall, Blind Yeo emerged from the isolation of lockdown. Built as an open collective, the project brings together musicians, visual artists and performers, developing a practice rooted in improvisation, live energy and shared creation. The Lemoine Point, their debut album, was recorded on a disused airfield near St Agnes. The title refers to a hidden geometric centre where lines converge, a metaphor that runs through the record as past, present and future meet within a single moment. Much of the album was captured live by a core ensemble including Sam Pert, Phil Self, Henry Greenham, Philippa Blum, Jake Sheridan, Will Greenham and Anouska Helm. These recordings are balanced by more intimate sessions, shaping a sound that moves between reworked folk traditions, electronic textures and raw, organic energy. Across the album, fragments of stories and emotions intertwine, exploring themes of love, duality and disorientation in time. Rooted in the Cornish landscape yet open in form, The Lemoine Point unfolds as a space where place, people and memory converge into a fluid and immersive whole.

Strut proudly presents an expansive deep dive into the world of Quatermass Sound Lab, the prolific under-the-radar East London studio founded and run by producer, engineer and The Heliocentrics co-founder Malcolm Catto. Over the last two decades, Catto has quietly established himself as a sought-after sonic architect in contemporary music. Revered for his analogue-first approach, he has built Quatermass Sound Lab around vintage recording equipment, valve preamps and live performance, creating recordings that feel warm and timeless. Equally inspired by punk, hip-hop, psychedelic rock, jazz, funk and electronic music, Catto has developed a production style that rejects genre boundaries in favour of instinct and atmosphere. Describing himself as "50% musician and 50% listener," Catto approaches each session as a collaborator rather than a conventional producer. That philosophy has made Quatermass Sound Lab a creative home for an extraordinary range of musicians, from established innovators to emerging voices. His remarkable discography spans collaborations with Yussef Dayes, DJ Shadow, Madlib, Quantic, Mulatu Astatke, Orlando Julius, Idris Ackamoor & The Pyramids and countless others, each project using analogue wizardry to shape bold, contemporary recordings with a character all of their own.

The A-side delivers two sublime cuts drenched in that unmistakable Italo-Balearic magic. Warm chords, sun-kissed melodies and effortless grooves transport you straight back to the golden days of mid-'90s Italian house music. Eyes closed, you're cruising along the Riviera with the top down, lost in pure bliss.
Flip it over and the mood shifts firmly toward the dancefloor.

The B-side explores deeper territory, moving through a range of shades while keeping things locked into a tough, clubfocused framework. There's a distinct New York stomp running through these tracks—driving, hypnotic and full of attitude— yet they never lose the emotional depth and musicality that have become a Westcoast Goddess trademark.

Just when you think the journey is complete, the EP saves its ace for last. Closing things out is a hypnotic funk groove built around silky Rhodes, a tight rhythm section and an iconic bassline—a fitting finale that leaves a lasting impression. A seriously strong package from start to finish, and another essential chapter in the ever-expanding world of D3 Elements.

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



Written, produced and mixed by Fergus Jones & Thomas Bush

Saxophone on Untitled (Mix 1) by Francesca Burattelli

Additional vocals on Untitled (Mix 1) by Yumiko Mannarelli

Mastered by Amir Shoat

We are very happy to announce the 10th release by Fresh & Low on their own “TREASURES” series on RAWAX! This time, we have the honour of presenting something very special. It’s a split EP featuring Fever Tension—originally released on Black Vinyl Records in 1999—and Fresh Juice II, also first released on Black Vinyl Records in 2000.

Highly recommended!