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2026 RSD Release - GREEN Vinyl

Mark Pritchard (Global Communication / Africa Hi-Tech / Reload / Harmonic 313) produced gem from 2004. Featuring Eska, Nina Miranda and other vocalists. TIP!

An expanded edition of a long out of print Far Out classic. This double vinyl edition will include the track 'Strikehard' for the first time, which was omitted from the original pressing, only released on a separate 12" and CD.

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Far Out Recordings announces the Record Store Day 2026 deluxe double LP reissue of Troubleman’s Time Out of Mind. Originally released in 2004, the album marked a distinctive turn in Mark Pritchard’s expansive career, channeling his pioneering electronic instincts through a filter of Brazilian grooves, African rhythms, and global soul. This special edition includes the underground club classic “Strike Hard” (previously unavailable on the original vinyl), alongside the album’s flawless blend of early-noughties space-age bossa, broken beat, future soul, and psychedelic downtempo.

Under the Troubleman alias, Pritchard stretched his focus outward in every direction. From the UK rave continuum to Brazil, the US, Africa, and beyond, he drew on the psychedelic soul of Dorothy Ashby and David Axelrod, the Afrobeat drive of Fela Kuti and Tony Allen, and the samba-doido energy of Azymuth. Filtering golden-era seventies influences through early-2000s pop, club, and rave lenses, the album moves effortlessly between club-ready tracks like “Strike Hard,” and more laid-back, tripped-out moments that highlight Pritchard’s range, shifting seamlessly from dancefloor heat to outer-bongolian cloud watching.

Featuring vocal contributions from Nina Miranda (Smoke City, Da Lata), Steve Spacek (Spacek, !K7), and Eska (New Sector Movements), the record captures Pritchard at a pivotal moment, exploring how electronic production could absorb and expand the rhythmic complexity of global sounds.

One half of Global Communication and Jedi Knights with Tom Middleton, and Harmonic 313 with Dave Brinkworth, Pritchard has since built a dense, acclaimed discography across numerous aliases and labels. His work on Warp Records has included collaborations with Thom Yorke, and his remix portfolio spans Depeche Mode, PJ Harvey, Underworld, Aphex Twin, Lamb, KRS-One, A Tribe Called Quest, The Orb, and The Beloved.

Remastered from the original sources and pressed to vinyl exclusively for Record Store Day 2026, this edition also faithfully reproduces the album’s psychedelic artwork by renowned British artist and designer Swifty.

LP Transparent Purple Vinyl in Picture Sleeve

The essential debut album from Chicago’s disco-funk pioneers, featuring the timeless “Free Man,” returns fully remastered from the tapes of Tom Moulton for RSD 2026. Produced by Philly soul legends Bunny Sigler and Bruce Hawes, this record bridges Chicago’s raw energy with Philly’s orchestral elegance. Essential for any collector serious about the roots of disco and dancefloor culture — an all-killer, no-filler LP that sounds fresher than ever today. Remastered and Redesigned labels and sleeve, Transparent Purple Vinyl.

Agent By Default In Hybrid Systems' is a deep dive into today’s and tomorrow’s society. Across four tightly constructed tracks, cinematic-surrealist musician and DJ JessyJiggy reflects on how mankind and machine-driven systems coexist and evolve. We act, respond, and adapt as agents by default caught between instinct and structure. Built for movement yet rooted in observation, every progression feels less like a command and more like a suggestion inviting listeners to negotiate their own place inside the grid.

This poetic concept translates into music where analogue and digital tools merge into a hybrid sound. Compositions carry an almost automatic rhythm that drives motion while sound design elements subtly reference modern technology. Raw, bass-driven, minimal and techno showcase the breadth and progressiveness of Rotterdam with its brutalist spirit embedded in every detail.

Carefully mixed and mastered by Simon Lescure, who works at the intersection of sound design, club culture, and contemporary art, the record is optimized for a wide spectrum of sound systems while offering a distinct, full-bodied experience on the dance floor. With his vision of music as a system of memory and tension, a way to hold time and transmit presence, raw energy is brought into focus, shaping JessyJiggy's signature sound with clarity, weight, and intent.

A work committed to pushing boundaries and contributing something lasting to the electronic music landscape, this record is crafted to become a cult classic.

Dr. Silberman makes a welcome return to Atom Trance Force and kicks things off in 2026 with his EP 'Welcome To The Future'. Two mixes of the title track are included: The fast paced original and the trance mix. The original is a serious ode to the late 90s Hamburg hard trance sound, and you can hear the influence of labels like EDM, Tunnel & Spaceflower. For the trance mix, he brings the tempo back down to 140 and moves more towards older Positiva energy. Rounding off the EP is Friends & Enemies, keeping the energy high but the quality to match.

From Atom - we thank you for your continued trust, and bigups to those supporting this release:

1995 Trance Sessions, Adam (Last Of The Mohicans) Apple FM, Adam Bellew Global Hard House Radio, Angie (FR), Busho, Choci, Digital Devil, Dimitri Kechagias, DJ Brisk [Stimulant DJs], DJs Present, Evolving Suns Audio [Cohesion / The Attic], Giuseppe Ottaviani, J.O.E [Tomorrows World], Jake Ayres, Jake Grace [TranceUnite / FCM Live], Jake Nicholls [Uprising], Loki [Terminal Trax], Louk / Hidden Identity, Mat Phat & Fugee Show [Newport City Radio], Mind Control [Noise Pollution], Mindflux, Paul Nineham [Brisk], Pete Morton [Harderfaster], Remnis, Renegade System, Rennz [Distorted Dreams], Rightsound [Dancesation / Timewarp], Rocco Jonsson [Collide / The Carnival Sweden], Spaceman [Tuned Flow], Spektral Noise, Suzy Solar, Tjerk Coers

repressed !

New Berlin based vinyl only label from Amotik. The debut EP features 3 heavy techno cuts.. Not much else to say, but hit play, and enjoy.

Supported by: Pfirter, Truncate, Kwartz, Eric Cloutier, Norman Nodge, Tommy Four Seven, Cari Lekebush, Cleric and many more!

Let The Light In is Tommy Chikara his debut album, functioning as a true discovery journey in his way to exploring new sounds and energy. The album is a curation of 13 tracks ranging from Techno to House, from Ambient to Jungle.

This album plays like an invitation rather than a record - a slow boarding pass to an imagined retreat somewhere beyond gravity. Analogue synths shimmer like gold, bubbling rhythms drift in gentle orbits, and playful melodies sketch out distant galaxies with an easy, unforced charm. There's a strong lineage here, with the music echoing classic library and soundtrack recordings cherished by deep diggers, yet it never feels nostalgic for its own sake. The grooves are light but nourishing - 'Uranium Jungle' has a touch of Luke Vibert's frisky funk about it, while 'Martian Sunset' is interstellar bossa nova with a light dusting of 70s analogue magic to boot - designed as much for sofa-bound drifting as for attentive listening. Musicianship is front and centre throughout, with smart, accessible compositions that reward repeat visits. A fully realised concept - sign us up for a stay.

Information Society's Running was the band's debut single, released in 1985. Originally distributed to club DJs, it quickly became a club hit, especially in New York, and attracted the attention of Tommy Boy Records. The song hit number 2 on the Dance/Club Airplay charts. The b-side to this 7 features the instrumental version of the song.

When Henry Street & Sacred Rhythm Music join forces for a remix outing, it should be obvious the source material and resulting productions are of the utmost caliber. This record proves such a case in point: Johnny "D" DeMairo & Joe Claussell team up for two takes on Candi Staton’s 1979 disco opus 'When You Wake Up Tomorrow.’ The original, whose pedigree could be inferred simply by reading Patrick Adams’ and Jimmy Simpson’s names on the label, is a faultless dance floor cut featuring all the elements you’d expect—lavish horn and string arrangements, sparkling synthesizer accents, and plenty of hand-beat drumming—along with with Staton’s peerless voice. Johnny D’s mix starts carefully, the vocal refrain accented with auxiliary percussion until the rug is pulled out from under us, the ensuing chasm making the following thrust of the track that much more powerful. On the flip.

Claussell’s take starts with reinforced four-on-the-floor, along with a studio count-in, perhaps alluding back to his previous ‘It Seems To Hang On’ edit. As the track establishes itself, ample room is afforded for interplay between bass and guitar, with all the interlacing elements aggrandizing the mood with careful shots of delay and expertly-timed pivots in atmosphere. Both sides are proof of what shouldn’t need evidence: two masters of their craft assembling two wholly new mixes that far surpass the banal copy and paste, add and subtract methodology slung by the less blessed. Pressed on white vinyl, with a custom jacket to boot.

Dino Lenny returns to Rekids with the ‘Piano Lessons at Eight’ EP, complete with a Tal Fussman remix. It follows Lenny’s ‘Not About The Volume’ EP, released in December 2025.

London-based DJ, producer, vocalist, and Fine Human Records label owner Dino Lenny returns to Radio Slave’s Rekids with the ‘Piano Lessons at Eight’ EP 24th April 2026, alongside a remix from label regular Tal Fussman. The EP follows Lenny’s ‘Not About The Volume’ EP, which released late 2025, and won support from Laurent Garnier, Chloé Caillet, Catz ‘n Dogz, and more.

‘Piano Lessons at Eight’ centres Lenny’s own vocals over a dark, chugging rhythm that develops steadily, tracing a personal journey from formal piano training to the discovery of electronic music. The biographical thread running through the record gives it an identity that sits apart from purely functional dance music. Rekids regular and Survival Tactics boss Tal Fussman then provides the accompanying remix, a crunchy, percussive rework that brings his characteristic blend of deep house and raw techno to bear, adding melancholic piano stabs that add texture without crowding the arrangement. The outcome is focused, atmospheric, and built for extended play.

With releases on R&S, Diynamic, Innervisions, Crosstown Rebels, Strictly Rhythm, Bedrock, and his own Fine Human Records label, and collaborative work alongside Underworld, Missy Elliott, Wu-Tang Clan, and Madonna, Lenny holds a long-established position within both underground and mainstream electronic contexts. Consistently supported by Pete Tong, Solomun, Carl Cox, and Groove Armada, he maintains a presence that spans scenes without being defi ned by any single one. Since 2021, he has hosted Tomorrowland’s CORE radio show, platforming artists including Nina Kraviz, Ellen Allien, and DJ Tennis.

Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.

En Route is Oddisee’s latest EP—a soulful snapshot of motion and meaning. Each track is a reflection of movement—physical, emotional, and spiritual. Its music for the journey, wherever you're headed. One time pressing on CD

Repress!

Belgian techno powerhouse Charlotte de Witte has unveiled brand-new EP ‘Apollo’, out 14th October on her own KNTXT label.

An uncompromising collection of club tracks, ‘Apollo’ opens with ‘Missing Channel’, a turbo-charged acid techno cut pairing pumping kick drums with squelching 303s. Next up, the title track shifts things into warehouse techno territories, juxtaposing bludgeoning kicks with haunting, ethereal vocals, while ‘Mercury’ cultivates a striking interstellar energy. Closing things out, ‘PPC’ is by far the record’s most experimental track, a shimmering, beatless creation laced with samples of space transmissions.

"The vastness and solitude of space always interested me. A compelling contrast between monumental power and the vacuum in between.” Charlotte explains. “This diversion can also be found in techno music, a pure simplicity divergent in power."

Charlotte de Witte has become known for her dark, stripped-back brand of techno, acid and anything high energy. She’s often crossing borders but maintains a deep form of respect for the underground. Highlight performances across the continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.

Heavy, breakneck club fodder, ‘Apollo EP’ is Charlotte de Witte at her bold and brilliant best.

Introducing The Hard Line is available on translucent green vinyl
Neither Fish, Nor Flesh is available on red coloured vinyl
Symphony Or Damn is available on gold coloured vinyl
Vibrator is available on blue coloured vinyl
JUST 400 AVAILABLE IN UK!!

180 gram audiophile vinyl, Newly remastered audio, processed at Artone Studio, approved by Sananda Maitreya
Anti-static black poly lined inner sleeves, Deluxe heavyweight sleeves on uncoated paper
All 4 albums include separate inserts with brand new introduction liner notes written by Sananda Maitreya
Box set is a limited edition, Hype sticker
Sananda Maitreya proudly announces “JUVENILIA : The Columbia Years”, a meticulously curated 4-LP box set bringing together
his first four groundbreaking albums, originally released between 1987 and 1995 Introducing the Hardline, Neither Fish Nor Flesh, Symphony or Damn, and Vibrator.
Set for release on February 6th, 2026, JUVENILIA mark the first time these iconic works have been remastered and presented together on
premium 180-gram vinyl, complete with restored artwork and new liner notes by Sananda.

Produced in collaboration with Sony Music UK, Music On Vinyl and Treehouse Publishing, “Sananda Maitreya’s JUVENILIA : The Columbia Years”,

pays tribute to a pivotal creative era that helped redefine the sound and spirit of modern soul, pop, and rock in the late 1980s and 1990s.

Soda Stereo is a band that never made the same album twice. After the commercial success of Canción Animal, singer Gustavo Cerati went deeper into the art of sampling, electronic music, the Madchester scene from the UK, shoegaze and neo-psychedelia. This change in sound led to some confusion among fans, but also gathered a lot of praise for embracing modern genres. Up this day Dynamo is seen as an essential classic in the Soda Stereo catalogue and also a must have for 90s shoegaze fans.

Dynamo is available as a limited edition of 2000 individually numbered copies on transparent vinyl and includes an insert.

"Melodic, dreamy bedroom pop with a nostalgic sheen" is how Tom Davies, creator of brand new dream-pop artist Flopsy's dream, describes this charming little album.
Some of you may know him as GeoWizard; the mad British adventurer/YouTuber who travels in straight lines, but here you get to see or indeed hear a completely different side to him - one that sings in soft, tuneful tones reminiscent of Damon Albarn or Ray Davies, builds ethereal, layered harmonies that wouldn't sound out of place on a Fleet Foxes track, and crafts gorgeous guitar and synth parts that could easily have come straight out of John Frusciante or Kevin Parker's handbook.
Written in a young Davies's bedroom between the years of 2008 and 2014, the songs themselves are far from brand new, but with the help of his good friend and writing partner Liam Rhodes (with whom he played in Birmingham Psychedelic outfit "Kinds of light"), Davies has brought these sentimental tracks to life whilst keeping them bang in line with their original vision.
The result is an album that doesn't really fit into any specific genre, in fact you could argue it's just regular old generic pop, but there's an innocence and a playfulness in there that disarms the listener and transports them to a simpler time when melody ruled supreme.

Losh is a series of parties held at the magical Chapala lake in Ajijic and Guadalajara, Mexico, aimed at preserving the essence of underground sound and its culture. The event has hosted performances by artists such as Satoshi Tomiie, Shonky, Priku, Arapu, Markus Nikolai and more. Now, Losh is exploring new horizons with the launch of its own vinyl label. The music for this second release features tracks by Tomodachi Club owner and Real Gang founder Miller, Head Honcho of Vatos Locos Héctor, Perlon legend Dandy Jack and one of Losh Team member James Bott.

“duo,” a collaboration between norwegian jazz heavyweight bugge wesseltoft and german house visionary henrik schwarz, is finally being reissued. it stands as one of the finest albums in the history of club music to so beautifully fuse jazz and electronic music. deep and experimental yet irresistibly melodic, this gem of a record possesses a captivating sensibility that draws in listeners of every kind. newly remastered by kuniyuki, this long-awaited reissue comes pressed on 180g vinyl. the refreshed artwork has been created by emerging japanese artist joji nakamura

happy 15th anniversary!

„Duo“, eine Zusammenarbeit zwischen dem norwegischen Jazz-Schwergewicht Bugge Wesseltoft und dem deutschen House-Visionär Henrik Schwarz, wird endlich neu aufgelegt. Es gilt als eines der besten Alben in der Geschichte der Clubmusik, das Jazz und elektronische Musik so wunderschön miteinander verbindet. Tiefgründig und experimentell, aber dennoch unwiderstehlich melodisch, besitzt dieses Juwel von einem Album eine fesselnde Sensibilität, die Zuhörer aller Art in ihren Bann zieht. Neu gemastert von Kuniyuki, erscheint diese lang erwartete Neuauflage auf 180-Gramm-Vinyl. Das überarbeitete Artwork stammt vom aufstrebenden japanischen Künstler Joji Nakamura.

Herzlichen Glückwunsch zum 15-jährigen Jubiläum!

Foundations Records brings you their hotly anticipated third release from Sonar's Ghost on Rinse Out EP - a bold four-tracker of breakbeat jungle, atmospheric jungle and jungle-tekno.

Sonar's Ghost

Starting out DJing in the peak hardcore era of 1992, Dominic Stanton rose as a post-hip-hop and ragga kid, cutting his teeth at free parties across the Shires. Drawn into the new directions of hardcore and jungle, he earned early gigs at the legendary Sanctuary, Milton Keynes, performing as Dom-unique.

Learning the art of beat-chopping on the Amiga 500, Dom landed his first release on Reinforced Records in 1995 and continued releasing into the 2000s as Static Imprints and Sonar Circle. Inspired by Dego and the evolving trajectory of 4hero, Dom began moving into more unexplored territory, producing eclectic, soulful beats under the name Domu.

After a brief hiatus, Sonar's Ghost was born - an outlet to explore the years Sonar Circle missed, from 1991 to 1995. Creating alternate journeys through that era, Sonar's Ghost reimagines the original sound palette using original sources, new blends of beats, and a lifetime of musical influence. For Dom, Sonar's Ghost is his happy place.

The Foundations release blends the eras and directions Dom loves most - from '93 bouncy darkside through to '03 drum funk - with authentic drums and samples integral to the vibe.

Here's the support on radio:

- Makossa (Radio FM4 Vienna)
- Distant Planet (Infrared FM)
- Sun People (Sub FM)
- Alex Ruder (KEXP Seattle)
- Haus of Beats (Txapa Irratia)
- Haus of Beats (Txapa Irratia)
- Tom Ravenscroft (Rinse FM)
- Jon1st (Subtle Radio)
- Martha (NTS / BBC R1)
- Harper (Czworka Polskie Radio)
- Gremlinz (89.5FM Toronto)
- N-Type (Rinse FM)
- Michelle (NTS)
- Mathieu Schreyer (KCRW, LA)
- Darkerthanwax (The Lot Radio)
- Bevin Campbell (PBSFM Aus)
- Errol Anderson (NTS)
- Ian (94.9 CHRW)
- OPR8 (Sub FM)
- Tramma (Noods)
- Carlos Contreras (Tilos Radio Budapest)
- Jay Scarlett (BR Puls Munich)
- DJ Tuco (91.90FM Prague)
- Ed2000 (Cashmere / The Face)
- Vinyl Junkie (Eruption Radio)
- Klaus Fiehe (1WDR)
- Benji B (BBC 1Xtra)

Second reference from Madrid-based label Proper Balance, this time in charge of UK producer Sub basics

The EP consists of 4 tracks on the 115bpm spectrum that range from the deep and obscure vibes of Gauze to more bright downtempo infused tracks Hemisphere and Axis as well as a slowed down dubstep track such as Bounce. All tracks written and produced by Tom aka Sub basics between years 2017 and 2018.

Following the recent worldwide success of “Otsukare SUMMER,” the analog edition of HALCALI’s debut album “HALCALI BACON,” originally released in 2003,
is now set for release 22 years later. The name “HALCALI” comes from combining the two members’ names, “HALCA” and “YUCALI.”
The album was fully produced by O.T.F, the production team of RYO-Z and DJ FUMIYA from RIP SLYME.
“HALCALI BACON” includes a diverse lineup of tracks such as “Otsukare SUMMER,” produced by Tomoyuki Tanaka (FPM)—a song that has surpassed 4.5 billion
views on TikTok and is generating global buzz—and their debut track “Tandem.” After more than two decades, the HALCALI wave is once again ready to sweep
the world

DJ Support: Phil Mison (Cantoma/Ambala), Charlie Bones (Do!You!!!), Frank Booker, Trujillo, Alice Palace, CIAN, DJ Aficionado, No Plastic, Jad & The, Leon D, Moe, Sadeedo, Longboss (Strangelove), Tom Kutsche, Marian Tone, Andy Pye (Balearic Social), Soft Rocks, Wrekin Havoc, Alfresco Disco, Manuel Darquart, Tom Bolas, Danny Russell, Craig Christon (Passport to/Beyond Paradise)
Many Hands - Basement Versionz #2, continuing from #1 with further excursions into Basement Balearica. From Bunker to Beach: Wiggy Dread Italo, Rebel Disco Reggae, Thai Boogie Funk and freshly creased 80s Steppers to help clever selectors get out of, or into trouble.

IMAGE Recordings emerges from the underground with its 5th transmission. Marking the label’s first release of the year, this 4-track EP is a mix of fresh sounding Techno, House and Electro tunes but still having the DNA of the late-90s groove to them. These are pure club tools that are made for the dance floor. Forget ordinary... This is the future..

In true IMAGE fashion, this is a strictly limited run with no repress.
In Motion: Abstract Grooves & Electronica

2026 Repress

London based composer, multi-instrumentalist and producer Akusmi announces 'Lines', an exhilarating new collection of works born from the desire to take where the acclaimed debut album 'Fleeting Future' left off - in search of new forms.

" 'Secant', I must have listened to this tune 3 times in a row, this one soundtracked my night drive through the winding roads" - Benji B, BBC Radio 1

'Lines' is presented as a Limited edition clear vinyl (500 copies only worldwide), printed in heavy-weight reverse board sleeve with a hand-numbered edition sticker. The vinyl edition also features 'Oblique' (A2), an exclusive version for the vinyl format, plus the now revered 'Longing for Tomorrow' - (Brandt Brauer Frick Remix), previously unreleased physically and now pressed on vinyl format, ending side B. The cover artwork features another collaboration with Dutch visual artist Sigrid Calon and design by label founder Adam Heron.

Formed with a sense of urgency and a reductive approach 'Lines' is almost entirely comprised of alto saxophone, clarinet and piano with embellishments of ambience and minimal percussive elements. Recorded in full at his home studio in London, Pascal Bideau speaks about the process:

"I wanted to go a bit more a bit more horizontal and ambient, work with layers of lines, might they be dotted or straight, and leave them to unfold and see where they would take me."

Akusmi uniquely finds the spaces in between experimental jazz, crossover classical and ambient music.

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

2026 Repress

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album 'Fleeting Future.' With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. 'Fleeting Future' stands apart as an inventive and inspirational debut.

The creation of the album's richly colourful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on 'Fleeting Future' seed from the 'Slendro' scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; "the compelling way things dramatically change when you shift from any given scale to another."

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis.

'Yurikamome', meanwhile, is an imaginary soundtrack inspired by Bideau's yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. "It's amazing" he adds, "that we have the ability to access almost anywhere in the world and see what it's like, that people document it and upload it. It's never going to be any replacement for the real thing, but with places that really touch you, it works." The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


'Fleeting Future' was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

"The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That's what makes it fleeting."

Squarepusher bricht wieder alle Regeln!

Tom Jenkinson, alias Squarepusher, präsentiert Kammerkonzert – ein Feuerwerk aus messerscharfen, rasend schnellen Riffs, teuflischen Orchesterklängen und rasanten Wendungen, das Progressive, Ambient, elektronische und experimentelle Musik vereint.

Der einzigartige Hardcore-Rave-/IDM-Produzent, experimentelle Musiker und Schöpfer futuristischer Fusion-Formen blickt auf ein 30-jähriges Schaffen mit einer Vielzahl herausragender Alben zurück. Von dem furiosen Breakbeat-Acid und dem brachialen Live-Bass-Angriff auf "Feed Me Weird Things" (1996) über das selbsterklärende "Music For Robots" (2014) bis hin zum virtuosen Live-Showcase "Solo Electric Bass 1" (2009) und dem entrückten Concrète-Jazz von "Ultravisitor" (2004) – nur wenige zeitgenössische Musiker haben ein so breites Spektrum an Musik so souverän abgedeckt. Doch trotz dieser Bandbreite zeichnet sich sein 30-jähriges Schaffen vor allem durch zwei Dinge aus: Unberechenbarkeit und Regelbruch. Da sein neues Album "Kammerkonzert" auf Warp im Grunde ein Kammerkonzert ist, bei dem er alle Parts selbst spielt, kann man getrost sagen, dass er seit seinem kristallklaren Drum-&-Bass-Debüt für das Label im Jahr 1996, der EP "Port Rhombus", einen langen Weg zurückgelegt hat.

Mit "Kammerkonzert" beginnt für Squarepusher nach 21 Alben eine neue Ära als Komponist.

With Le Tact, Joseph Schiano di Lombo delivers a work of rare finesse, conceived as a posthumous conversation with photographer Henri Cartier-Bresson. Through seven meditative pieces - whose evocative titles echo the photographer's words when describing the art of creating an image - this album explores the instinctive and delicate relationship that connects music and photography to our everyday lives.

Presented for the first time on stage during the 20th anniversary of the Henri Cartier-Bresson Foundation, Le Tact draws its inspiration from the photographer’s art: a sensitive and respectful approach, capturing the essence of things without altering them. This spirit of discretion and precision is distilled by Joseph into his music, blending composition and improvisation with intuitive elegance. While Joseph composed and performed the piano, organ, synthesizer, clarinet, and guitar himself, he opened his arrangements for the first time to other musicians. Agnes Wasniewska (oboe), Barbara Misiewicz (cello), and Tomasz Baye Zietek (trumpet) bring their sonic textures, enriching this work, which is both intimate and collaborative. The album was recorded between Paris and Sopot (Poland) during a residency organized by the CNM.

The album’s title perfectly encapsulates its essence: Le Tact. This simple word, evoking both the sense of touch and artistic intuition, reflects the way Joseph composes—with respect, humility, and attention to detail. Each note seems to float lightly, as if to preserve the serenity of the moment. Le Tact transcends genre boundaries. Between ambient music and contemporary art, this album invites listeners to slow down and truly listen. It is a tribute to the beauty of the world, captured with the subtlety of a photographer and the sensitivity of a musician.

"Askew indie rock thrills, bubbling, synth-flecked and sitting at a perpendicular to the mundanity of the everyday" - Clash

London-based French chanteuse, multi-instrumentalist & composer Clémentine March shares her new single of entrancing avant-pop ‘After The Solstice’, from her upcoming new album ‘Powder Keg’.

Enriched by influences from jazz, folk and Brazilian music, ‘After The Solstice’ was initially inspired by a time spent touring the UK with acclaimed folk singer Naima Bock. For Clémentine, the song explores “the theme of memory and reminiscence” and employs an absorbing sense of cyclical repetition; a musical device used “to evoke the deja vu sensations we all experience in life”.

Out of life on the road, everyday recurrence and contemplative retrospection, Clémentine creates a profoundly hypnotic anthem on ‘After The Solstice’, both mellow and fervent. Evoking the likes of Stereolab, The Raincoats and Cate Le Bon, it’s a mesmeric singalong of graceful vocal lilts and poised musicianship, with every element moving in beautiful unison.

Recorded & arranged with Ollie Chapman (bass) & Sophie Lowe (drums), and featuring vocal contributions from Naima Bock, Sophie Jamieson, Katy J Pearson, MF Tomlinson, Marika Tyler-Clark, Robyn's Rocket and Alabaster DePlume, ‘After The Solstice’ is the first glimpse of Clémentine’s third album ‘Powder Keg’, following the rich international eclecticism of her debut album ‘Le Continent’, and the beguiling intimacies of her second LP ‘Songs of Resilience’.

Psychedelic dub, Afro-Latin rhythms and cosmic grooves come together on La Chooma’s self-titled debut for Batov Records. Drawing on Moroccan Gnawa, Colombian cumbia, Afrobeat, Jamaica dub & roots, and cosmic jazz, the six-piece ensemble create deep, hypnotic music rooted in global traditions and shaped for contemporary dancefloors.

Having already captivated local audiences with their hypnotic, organic live performances, La Chooma – now a six-piece ensemble – have been steadily building an international following. Initial singles “Magic Plant” and “Huachuma” earned support from tastemakers including BBC Radio 6 Music’s Deb Grant and Tom Ravenscroft.

“Magic Plant” distills the band’s signature blend of hypnotic grooves, lush percussion and woozy synths, like Jimi Tenor lost in the Colombian Amazon. A dreamlike, dub-infused trip driven by organic rhythm and cosmic textures. “Huachuma” picks up the thread, fusing Afrobeat percussion, swirling basslines and psychedelic flourishes into a hallucinogenic jam made for a tropical dancefloor.

Time for more tracks from around that different corner! The EP kicks off with Reel Des Jumelles, some kind of hommage to accordion dance music that moves with a steady forward leaning house beat, winding staircase melodies and some well-paced tom fills. Arrak is more of a slow, howling midnight creeper. The B-side consists of two cuts from Anders’s live repertoire, meaning deep modular bass n’bleeps, dubby chords and some drum box autorhytm presets (merengue, salsa…) thrown in for good measure. Includes digital download code, and the digital version comes with two fabulous remixes by HEROES. Alexi Delano and Daniel ”Fagge” Fagerström! Edition of 100, mastered by Andrea Merlini.

Transient Response is a storytelling of moods in motion, from city to city, situation to situation from China-born, London-based artist Guohan. Side A opens with ‘Don’t Forget Your Hiss’, a funky dusty groove built around the repeated phrase ‘带走我的’ gradually unfolding into ‘带走我和你的故事’ meaning ‘bring along the stories of yours and mine’. ‘First Light’ follows as a percussive MPC-driven slow burner, capturing a swirling summer day in the studio.
Side B starts with ‘Seeds of Tomorrow’, a mellow drive through thoughts with a broken groove constructed with drum machine, djembe and shaker. Growing synths and bassline from the analogue devices keep your head nodding and feet moving. Backed with a remix from Xiamen-based artist Knopha.

Italian jazz trio Collettivo Immaginario announces the release of their second full-length album, 'Oltreoceano'.
Known for their slick sound and energetic live performances, their style is firmly rooted in the jazz tradition of collective improvisation, through which they have developed an agile, kaleidoscopic sound. The trio’s unique fusion of funk, jazz, and 70's electronica continues in the trio’s latest release, forging connections across oceans through the universal language of music.

Consisting of founder Tommaso Cappellato on drums and percussion, Nicolò Masetto on electric bass, and Alberto Lincetto on rhodes, piano, and synths, Collettivo Immaginario have become rising stars in the Italian festival scene, from the streets of their hometown in Italy to the diverse audiences in Los Angeles, London and Milan.
Subtly paying homage to genre-bending giants like Azymuth, Lonnie Liston Smith, Herbie Hancock, and Hermeto Pascoal—alongside Italian film music legends Piero Piccioni and Piero Umiliani—their sound moves effortlessly between the heat of the club and the cinematic allure of evocative film scores, infused with touches of spiritual jazz.

V.I.C.A.R.I. (the acclaimed alias of UK producer Tommy Vicari Jnr) emerges with "Float In," a high-impact release tailored for dance floors and vinyl enthusiasts alike. The title track pulses with disco-inspired stabs layered over crisp, modern production, capturing both nostalgic club energy and contemporary momentum. Tracks like "September Again" delve into deeper territory, offering immersive atmospheres and understated grooves that highlight V.I.C.A.R.I.'s sophisticated touch and adaptability for various times. As usual this will be a Vinyl Only, No Repress affair.

Kenshi Yonezu’s cinematic new chapter comes to life on vinyl.

This special single features Kenshi Yonezu’s latest hit IRIS OUT, the evocative theme from CHAINSAW MAN – THE MOVIE: REZE ARC, Top 5 of the Billboard Global 200 charted song,

becoming the highest-ever charting position for a Japanese language song, alongside JANE DOE, a powerful collaboration with J-pop icon Hikaru Utada. Blending Yonezu’s inventive

production with Utada’s signature vocals, the track marks a landmark meeting of two of Japan’s most visionary artists.

The release also includes Yonezu’s global platinum hit KICK BACK, together with fresh remixes by Frost Children and 2 more, each reimagining the song through a distinctive creative lens.

Pressed on single black 45 RPM vinyl, IRIS OUT/JANE DOE is housed in a sleek single-pocket jacket with a fold-out 12”x24” insert including an Illustration by Kenshi Yonezu, making it a

must-have for collectors and fans of Kenshi Yonezu’s bold, genre-defying sound.

With this new LP, i had Discover a new mindset into the composition and try to explore some new ways i never explore..
Thanks to my family and friends for the unconditional support, after my 10 Years break in the Music industry.

// PRODUCED BY MORGAN TOMAS
// MIXED BY MORGAN TOMAS
// MASTERED BY TIM VITEK
// ARTWORK BY VORACE

We’re back with our first reissue of the year, number nine in the series, and easily our most ambitious to date. After eighteen months of focused work by Tommy (Zulu Matrix), we’re proud to finally give the 1994 Canadian trance weapon, Hyperspace, the reissue it’s long deserved. The original Supernova Mix returns in full force, backed with two brand-new edits on the B-side from S.O.N.S and Tommy (Zulu Matrix) himself, built for modern systems while staying true to the original energy.

Re-issue albumsampler 2/2 from the "Circles in Time" album of Tommy The Cat !