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‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

Children, the one and only instrumental song that breaks all the rules, created by Robert Miles. The netherlands producers Tinlicker signed the new remix of Children.

Bio:
Tinlicker are Utrecht based duo Micha Heyboer and Jordi van Achthoven who have been crafting their computerized soul together since 2013. Before joining forces, they individually honed their skills as part of world renowned drum 'n bass act Black Sun Empire (Heyboer) and as producer, songwriter and music editor for many artists (Van Achthoven). Their previous experience was apparent from day one of their collaborative project, resulting in an impressive
string of highly mature and deeply emotive tracks. Since starting working together they’ve quickly become a household name in the world of electronic dance music previously releasing on Armada,
mau5trap, Anjunafamily and Astralwerks. They have released their first full length album 'This Is Not Our Universe' last fall and released their remix album this past spring from the likes of Dosem, Joris Delacroix and Grum.

Two Piers / Pavilion Records bring you the second instalment in a new series of 12” EPs called ‘Pavilion 12”s’ showcasing different genres and scenes. Put simply 4 x Killer cuts from the scene on Limited Vinyl pressings

‘Pavilion 12”s Volume 2’ features four cuts from the New Beat, EBM and Electro Industrial explosion of the late 1980s and is pressed on ‘Neon Acid’ coloured vinyl (limited 350 only pressing)


The Vinyl EP opens with the classic EBM track ‘Flesh’ by A Split Second, who were one of the pioneers of the Belgium New Beat underground explosion of 1987. Fellow Belgian New Beat exponents L&O deliver ‘Even now’, a staple in the Underground Electronic scene of the late 1980s. On the flip things take a more Electro Industrial turn with UK electronic industrial collective Nitzer Ebb’s seminal ‘Join in the Chant’, before Front 242 close things off with their EBM dancefloor monster ‘Headhunter (V1.0)’ – 4 Classic and hard to find New Beat & Electro Industrial Dancefloor bangers on one slab of 12” vinyl

Elypsia Records presents A Future Tribe, the new album from Italian electronic music producers CEM3340 & 2030. Rooted in the formative language of electro and early techno, A Future Tribe channels the past through a lens very much focused on the future. Across the album, analogue warmth, machine-driven funk, synthetic textures and futuristic atmospheres come together in a sound that channels the pioneering spirit of early Detroit while remaining unmistakably connected to the present. For CEM3340 and 2030, machines are not simply tools, they are central to the creative process. Both producers have spent years immersed in the culture of electronic hardware. They've been carefully building and refining their own approach to production through an extensive collection of synthesisers, drum machines, sequencers and studio equipment. Based in Bari, southern Italy, their work reflects a deep fascination with the physicality of electronic music: oscillators, circuitry, voltage, rhythm and the unpredictable character of machines programmed and played with a human touch. That philosophy is deeply embedded in A Future Tribe. Rather than treating the early years of techno as a museum piece, CEM3340 & 2030 approach its foundational ideas as a living language - one that can be stripped back, re-translated and taken somewhere new. The influence of Detroit's first generation of electronic innovators is unmistakable. There are echoes of the futuristic electro and techno pioneered by artists including Juan Atkins and his contemporaries, where funk, science fiction, machines and the possibilities of tomorrow became part of a new musical vocabulary. It is an approach that has already earned the duo recognition within that lineage. Their previous Machines Awake EP, released through Atkins' Metroplex Records, was described as paying homage to the classic foundations of the genre while pushing them into new territory. Juan himself gave the release his sonic approval. But A Future Tribe is not an exercise in retro-futurism for its own sake. The album comes from two producers who understand the history, have the hardware to explore it and, crucially, are interested in what happens when those influences are given space to evolve. The result is electronic music that is full of funk, groove and a kind of nostalgia that is pure and intentional without being a pastiche. Together, they make music that is rooted in one simple truth: machines can't come to life without human creativity.

For the very first time, the energy of So W'Happy Festival is captured on vinyl with the So W'Happy – Vinyl Sampler 2025.

Produced in collaboration with Babaorum Records, this release brings together a selection of the festival's most iconic anthems, including the official So W'Happy Festival anthems from 2022 to 2025.

Featuring tracks by Frontliner, Rayzen, DRS, Sandy Warez, Unsyn, D-Charged, JNXD and Carola, the sampler reflects the evolution of the festival through the artists and productions that have helped shape its identity. From euphoric hardstyle melodies to uncompromising hardcore and uptempo energy, every track captures the passion, intensity and atmosphere that define the So W'Happy experience.

More than just a compilation, this first vinyl edition celebrates the music that has become the soundtrack of one of Belgium's leading harder styles festivals.

French

Pour la toute première fois, l'univers du So W'Happy Festival est immortalisé sur vinyle avec le So W'Happy – Vinyl Sampler 2025.

Réalisée en partenariat avec Babaorum Records, cette sortie réunit une sélection des hymnes les plus emblématiques du festival, dont les anthems officiels des éditions 2022 à 2025.

Avec des titres de Frontliner, Rayzen, DRS, Sandy Warez, Unsyn, D-Charged, JNXD et Carola, cette compilation retrace l'évolution du festival à travers les artistes et les productions qui ont forgé son

identité. Des mélodies hardstyle aux sonorités hardcore et uptempo les plus explosives, chaque morceau retranscrit l'énergie, la passion et l'ambiance qui font aujourd'hui du So W'Happy un rendez-vous incontournable de la scène hard music.

Bien plus qu'une simple compilation, ce premier vinyle célèbre la musique qui accompagne l'histoire d'un festival devenu une référence de la scène harder styles en Belgique

Following years of quietly refining her craft, Dilemma now returns with her debut album A River Without Banks, landing this August on Spearhead Records.

Known for her effortlessly deep and soulful approach to drum & bass, Dilemma has become a respected name among listeners who favour atmosphere, musicality and understated emotion over quick trends. A River Without Banks feels like the culmination of that journey, a rich and carefully crafted body of work that moves between warm liquid rollers, deeper late-night textures and moments of genuine introspection.

The album showcases Dilemma’s versatility without ever losing the unmistakable character that has made her music so recognisable. Tracks like “You Do It To Me” capture her signature laid-back soul, while collaborations including “Watch” with BCee and “Days To Come” featuring In:Most & Lauren Archer bring a cinematic and emotional depth to the project. Elsewhere, cuts like “Usurper” and “Vibe Check” reveal a heavier, more stripped-back edge while still remaining rooted firmly in groove and feeling.

Rather than chasing peak-time moments, A River Without Banks unfolds patiently and naturally, rewarding repeat listens and drawing inspiration from across the spectrum of soulful drum & bass culture. There’s a timeless quality to the album, music designed to stay with you long after the final track fades, whether heard in solitary moments or shared across packed rooms and late-night systems.

Released via BCee’s Spearhead Records, A River Without Banks continues the label’s long-standing tradition of championing thoughtful, emotionally rich drum & bass while further cementing Dilemma’s place as one of the scene’s most quietly consistent producers.

Truths and secrets often reveal themselves at night, under the freedom of shadowy darkness, away from prying eyes. In creating Given to the Night, sisters Valentine and Clementine Nixon have crafted a world that drifts through the in-between: between dream and reality, between day and night and the undefined, and ultimately a world that embraces the discomfort of being untethered. A process that follows simplicity and intuition rather than pre-determined narratives. “We recorded songs as they appeared, which sometimes felt like catching light. Before we realised it we had a record”, the duo explain.

While making the record Valentine and Clementine gently pushed away from the world- deleted social media, retreated into the trees of their native New Zealand - and only invited a couple of people in during the recording process. From that space, the album came together in an eerily easeful way.

There is a dream-like drift and sonic timelessness to the the record, as reflected in its nocturnal title, which can be read in two ways:

“Being taken by, or being inclined towards nighttime, preferring its blurry cloak of shadows to the harsh light of day; or giving oneself up to night, in sacrifice, letting go of fear and melting into the darkness.”

Written during a time of personal transition there was “a sense of finding the light in the shadow” they add. Guitar lines float, synth lines entwine, tapes hiss and vocals stream creating a kaleidoscopic montage of transient memories and emotions. A spectrum of feelings arise - isolation and joy, insomnia and manic highs, confusion and fleeting clarity, grief and healings. In the record, these feelings all merge and fade into one another in a nonlinear manner, as life tends to do; creating something deeply human that simultaneously gestures towards the transcendental.

Samson A.K returns to his Ideal State imprint with a new double-header, Myrrh / Spare
Me, featuring remixes from Krikor and Beau Wanzer.
Two originals, two interventions. Krikor takes one side, Beau Wanzer takes the other. Four
tracks with varying degrees of damage.
Limited hand-stamped white label.
Mastered by Miles Whittaker.

DAYBREAKERS welcomes Felipe Gordon to the label with DBR012 – Constant Output EP, a four-track 12” from one of the most exciting house producers to come out of Colombia.

Based in Bogotá, Felipe has built a reputation as a producer, DJ, label head and proper multi-instrumentalist, with records across labels including Toy Tonics, Heist, Razor-N-Tape, Local Talk, Shall Not Fade, Clone Royal Oak and his own Wide Awake / Nómada projects. His sound has always carried more than just club function — jazz keys, loose basslines, acid touches, live-feeling percussion and that raw, human edge that makes his records stand out.

There’s a natural connection here too. Felipe’s “Let’s Get, Get Together” appears on Rainer Trüby’s Root Down compilation, released on DAYBREAKERS, making Constant Output EP a perfect choice to end 2026 with. From Bogotá to Freiburg to London, it’s exactly the kind of musical thread DAYBREAKERS was built to follow.

Across the EP, Felipe does what Felipe does best: warm, jazzy, deep house with swing, musicianship and enough grit for the club.

For DAYBREAKERS, this is a proper fit. Buy or cry.

DAYBREAKERS welcomes Felipe Gordon to the label with DBR012 – Constant Output EP, a four-track 12” from one of the most exciting house producers to come out of Colombia.

Based in Bogotá, Felipe has built a reputation as a producer, DJ, label head and proper multi-instrumentalist, with records across labels including Toy Tonics, Heist, Razor-N-Tape, Local Talk, Shall Not Fade, Clone Royal Oak and his own Wide Awake / Nómada projects. His sound has always carried more than just club function — jazz keys, loose basslines, acid touches, live-feeling percussion and that raw, human edge that makes his records stand out.

There’s a natural connection here too. Felipe’s “Let’s Get, Get Together” appears on Rainer Trüby’s Root Down compilation, released on DAYBREAKERS, making Constant Output EP a perfect choice to end 2026 with. From Bogotá to Freiburg to London, it’s exactly the kind of musical thread DAYBREAKERS was built to follow.

Across the EP, Felipe does what Felipe does best: warm, jazzy, deep house with swing, musicianship and enough grit for the club.

For DAYBREAKERS, this is a proper fit. Buy or cry.

Format: LP , Limited
With his first longplay EUROSTAR, the Danish disco-dj-turned-rock-crooner Boogie Rookie seeks to bridge the troubled waters between UK new-wavey rock and sleazy euro-disco. It's a ten track italo-rock outburst uniting extreme hedonism, climate crisis and the European railnet.

The album is produced partly in Copenhagen with Danish disco royalty Vinnie Who and balearic-proghouse wunderkind William Winding, and partly on the hills of Napoli with the Neapolitan Italo-don Whodamanny. In the middle of the album there are steamy vocal features from the Parisian disco queen Corine and the Danish model-chanteuse Klara Kristin.

The album is already remixed by the likes of Prins Thomas, Italo Deviance and Danger Boys and has gained traction amongst DJ's all over who fear neither kitsch or raw rock'n'roll power.

When he's not busy making punky HI-NRG tunes, Boogie Rookie is one of the busiest European cosmic disco dj's. On weekend nights, you're very likely to find him with a glass of red wine behind the booth of his countless Copenhagen residencies, his residency at Paris' hyped disco La Fète or at happening disco dances elsewhere in Europe.

Flat & Round return once again with deep house aficionado Demarkus Lewis and the highly sought-after Southern Goods EP.

A deep house classic and a serious piece of vinyl gold dust, original second-hand copies regularly exchange hands for £60+, making this one a must-have for fans of Demarkus Lewis and deep house alike.

A true secret weapon that deserves a permanent place in your bag.

12" , transparent vinyl with black dots

pdqb has been spending an increasing amount of time on the Blue Planet lately. From his perspective, this was never going to end well.
With an intelligence operating several evolutionary levels beyond anything currently available to humanity, pdqb identified the problem almost instantly. Humanity's operating system had developed a number of serious inefficiencies, and the planet was clearly heading in the wrong direction. Even artificial intelligence would not be of much help here: created by humans and trained on human knowledge, it remains, in pdqb's estimation, a rather primitive form of intelligence compared to the cognitive systems he carries within himself.
So pdqb has decided to intervene - personally, and in human form. His identity will remain undisclosed. His intervention, however, will be unmistakable: a brief intelligence boost, followed by approximately 10.000 years of world peace.
It will be fine.
Contact Imminent contains three transmissions from pdqb himself, carrying his characteristic Electro-Cognition signature sound - three pieces of evidence that the future is still worth saving.
For the B-side, pdqb selected two Earthlings whose music he already appreciated, but whose name was particularly appropriate for the occasion: Extrawelt.
Because after the intervention, this planet will no longer be what it was. It will not be the old world, nor simply a new one.
It will be an Extrawelt.
A slightly improved version of reality, with another 10.000 years to get things right.

5. VITAL SALES POINTS:
" transparent vinyl with black dots
" mastered by the infamous Andreas LUPO Lubich
" cover artwork by SUPERFLEX
" two remixes by Extrawelt

Persona proudly presents its debut release, introducing Nae – a trusted friend, dedicated producer and creative force behind the new label. Nae delivers with his deep and immersive production style, providing a powerful blend of driving bassline and crystalline drums, all the while delving into his signature atmospheric sound.

These tracks are carefully crafted to captivate the dance floor, delivering bursts of pulsating intensity, as well as more intimate, reflective moments. With four tracks and four different flavours, this EP is designed to fit seamlessly into your record bag. With only 300 copies available, this limited first release of Persona’s debut is not one to miss. Grab it while you can

Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation. In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”.

A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection. Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural? As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves. Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult. Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour. The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.

Long regarded as one of electronic music’s true individualists, Aubrey’s legacy stretches across decades of uncompromising, deeply musical productions — always balancing raw machine funk, psychedelia and emotional depth with a uniquely personal touch. Through Deep Series, Georgios DSR brought him on board for a release shaped less by trends than by a shared dedication to timeless underground music culture.
On the A-side, Aubrey delivers the shimmering and organically evolving *Insectos de la Luna* alongside the weightless, jazz-leaning groove explorations of *Flying Low*. The B-side shifts into deeper and more functional territory with Georgios DSR’s *Analog Ground (LiVRO’s Groove Shape)* and the hypnotic pulse of *Signal Drift*.

Rather than following contemporary formulas, *Shifting Phase* reflects a mutual commitment to atmosphere, movement and long-form dancefloor storytelling — rooted in house and techno traditions while remaining open, psychedelic and forward-thinking.
Previous Deep Series material received support from XDB at Dimensions Festival, generating a strong response around the label’s growing catalog.

RDS003 is another step in the ongoing evolution of Deep Series: music driven by conviction rather than hype.

After a year in the making, Laolu completes his Mascara EP with the release of its final single, ‘Mental'. A beautifully instinctive collaboration with Benni Ola that captures the magic of spontaneity and creative connection.

The foundations of the track were first laid in Bali, where Laolu began experimenting with a guitar recording from another project. Drawn to Benni Ola’s unmistakable vocal energy after repeatedly playing his music, the producer immediately felt a connection between the unfinished instrumental and Benni’s voice. Months later, the pair met during a writing camp in Portugal, instantly establishing a creative chemistry that would eventually lead them to Los Angeles, where Mental was recorded in a single, fluid session.

Built around intuition and emotion rather than overthinking, the collaboration unfolded almost effortlessly. What began as a loose idea quickly transformed into a record overflowing with memorable hooks, as both artists leaned fully into the moment and trusted the energy in the room. Benni Ola described the experience as feeling “electrified” from the instant the track played, recalling the session as something almost channelled rather than consciously written. One of those rare creative moments where everything simply falls into place.

That sense of immediacy and freedom runs throughout Mental. Warm, soulful, and emotionally charged, the track balances hypnotic grooves with expressive vocal delivery, creating a record that feels both intimate and euphoric.

Together with previous singles Mascara and Velvet Blooms featuring Paul Brenning, Mental completes the ‘Mascara' EP. A rich and deeply expressive body of work that highlights Laolu’s ability to fuse emotion, groove, and collaboration into something truly timeless.

As with all releases on Siembra, the single is tied to artwork inspired by Magic Carpet - a painting by Laolu’s late father, created in Nigeria in the early 1980s. It’s a personal and cultural thread running through each release, defining the visual identity of Siembra as the label evolves.

Huxley debuts on Rekids with the ‘MIND G%MES’ EP.

UK DJ, producer, and Dumb Safari label head Huxley joins Radio Slave’s Rekids for the first time with the ‘MIND G%MES’ EP, dropping 25th July 2025. The first track, ‘M%ND’, kicks off with woozy and alluring pads swirling round a cuddly but kicking Deep House groove. Soulful vocals and delicate, cosmic melodies rise out of the mix to bring it to a close in style. 'CLUB SH%T' ups the ante with zippy synths injecting some texture to slamming drums that straddle the House and Techno divide, while wispy stabs and warm daubs of sound dance around the cowbells to make this an evaluated late-night tool.

'FEAR N%THING' is a new school cut, with fi ltered loops, sugary chords, and pent-up energy all surging through the dance fl oor. Last but not least is 'ANY1', a sleazy House pumper featuring moody spoken word, a big, rubbery bassline, and slinky, Garage-infl uenced percussion.

Active in the underground music scene for two decades, former Rinse resident and sometime Aus, Shall Not Fade and Unknown To The Unknown artist has had one hell of a career. From huge breakthrough tracks like ‘Let it Go’ on Hypercolour and ‘Box Clever’ on 20:20 Vision to his 2014 ‘Blurred’ LP on Aus, he’s seen universal critical acclaim as well as massive support from DJs and dancefloors globally. In recent years, his Dumb Safari label, the online community R Trybe (co-founded by Ramin Rezaie/BAKKIS) and collaborations with Steve Bug are just a handful of his projects, while his ‘MIND G%MES’ EP for Rekids is already feeding the fi re with support from Jen Cardini, Cromby, I.Jordan, Jennifer Loveless and big room dons, Michael Bibi and Solomun.

"ASSEMBLE MUSIC 15 YEARS - Part III : Founded in Lisbon in 2011, Assemble Music celebrates its 15th anniversary with a three-part vinyl compilation, bringing together fifteen artists who, in different ways, reflect the label's past, present and future. Released simultaneously in November 2026 and distributed worldwide by Clone Distribution, the three records are less a retrospective than a continuation of what Assemble has been building since the beginning: music with character, made by artists with their own language, away from trends and easy categorisation. Across fifteen years, Assemble has moved freely between house, techno, electro, dub and more experimental forms of electronic music. The catalogue has never been defined by one particular sound, but rather by a certain approach, personal, uncompromising and built to last. Part III brings together another five artists particularly close to Assemble's musical universe. Lowtec has spent decades developing one of the most distinctive languages in European house and techno, both through his own productions and his own label Workshop. His music shares something fundamental with Assemble, restraint, depth and an unwillingness to follow obvious paths and thats exactly what he delivers with "Dutch Angle" exploring the more ambient and abstract side of house. Welsh modular artist Steevio, co-founder of Freerotation, approaches electronic music through improvisation and live interaction with machines. His contribution to the compilation reflects the human, unpredictable side of electronic music that has always fascinated the label. Reedale Rise returns after becoming an important part of Assemble's recent chapter. Moving naturally between electro, techno and house, his music combines precision with an unmistakable melodic and emotional quality. With his track he explores a slightly darker path here, with deeper, more shadowy melodies revealing a different side of his distinctive sound. Lerosa's "Love Money" and Vera's "Take Me" are two very special tracks in our back catalogue, and we felt it was time to bring them back to life for our 15th anniversary. Vera was one of the first artists to collaborate with Assemble, with Lerosa joining not long after. Over the years, both have become an important part of the label's story, through releases, many shared showcases, and above all, a great friendship that has grown along the way."

"ASSEMBLE MUSIC 15 YEARS - Part I : Founded in Lisbon in 2011, Assemble Music celebrates its 15th anniversary with a three-part vinyl compilation, bringing together fifteen artists who, in different ways, reflect the label's past, present and future. Released simultaneously in November 2026 and distributed worldwide by Clone Distribution, the three records are less a retrospective than a continuation of what Assemble has been building since the beginning: music with character, made by artists with their own language, away from trends and easy categorisation. Across fifteen years, Assemble has moved freely between house, techno, electro, dub and more experimental forms of electronic music. The catalogue has never been defined by one particular sound, but rather by a certain approach, personal, uncompromising and built to last. Part I opens with XDB, an artist whose relationship with Assemble goes far beyond a single record. His deep, understated approach to house and techno has always been closely connected to the musical identity of the label. Aubrey, one of the enduring figures of the UK underground, follows with decades of experience behind him and a catalogue that stretches back to the early 1990s. Synchrojack connects the compilation to another important lineage: the raw and deeply individual British house music with a track produced and never released in the 90's. Activ-Analog bring their machine-driven, analogue approach back to Assemble after previously releasing on the label, while Kumquat Kids aka Julian Phethean & Steve O'Sullivan with a track originally released in 1999 on the Various Positions EP for UK label Organised Sound. "Surface" is a genuine late-90s underground rarity! Over the years, the original 12" has become increasingly sought-after and notoriously expensive on the second-hand market."

Classy Frenchman Franck Roger is one of the most consistent performers in the deep house game and he is back with another MVP performance on Seasons Limited this Autumn. This all-new trio of tunes opens with a delightfully airy, light-footed blend of Afro drum patterns and buffed metal melodies that have a lovely late-night glow to them. It's a persuasive rhythm that will infect your hips in no time, while 'Circulation' is more humid and bouncy, with nods to the deep and smoky foundations of house but still one foot in the here and now. 'Feel Free' closes with an elastic groove and the sort of introspective melodies that mean more than most throwaway synth lines in the modern scene. Tasteful and timeless as always from Roger.

Abacus back in full effect — “The Earthly Pleasures” EP, a deep house gem celebrating 30 years since its original 1996 drop on 83 West.
Jazz-infused grooves, soulful rhythms, timeless vibes — this one still hits heavy.
A true classic from the Abacus catalog, reissued for the heads who know.
Pure deepness, no filler — essential wax.

Feedbacks:

Harri (Sub Club) : nice, will play and support
Hector Romero (Def Mix) : Proper deepness on Sunray - still sounds fresh! and the Bassline on Phonogrammeis a killer. Love it. H
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Pacific Coliseum (Dublab, Teen Daze, Noire & Blanche) : Moonbeamz is the jam for me; still sounds fresh all these years later!
Fred P : Nice..
Mr. V (Sole Channel Music / Strictly Rhythm / Salter Music / Defected) : Pure dopeness Thanks
Mark Farina : classic! nice.
Jimpster (Freerange) : Abacus doing what he does best and bringing the deep heaters! Loving all three tracks here.
Laurent Garnier : very elegant EP
Lea Lisa (Phonica Records / Folklor Club) : Play them since day one, good to repress for the new generation. Essential
Anthony Collins (Frank & Tony / Scissor & Thread) : great record
Franck Roger (Real Tone Records) : What a greta news to repress this old classic
Prosumer : 30 years later still hot AF
Red Eye (Crash Planet Rec, R.E.A.D., Red/Shift, Lavish Habits, Multipass) : Moonbeamz still out here holding its own!!!!
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Used to play Moonbeamz a lot when it first came out, nice to have the digis.
DJ Bone (FURTHER) : Crazy Hazy Days is really nice
Terry Farley : sunrays a legend
Antal (Rush Hour) : nice!!
Carista : love this thanks

"ASSEMBLE MUSIC 15 YEARS - Part II : Founded in Lisbon in 2011, Assemble Music celebrates its 15th anniversary with a three-part vinyl compilation, bringing together fifteen artists who, in different ways, reflect the label's past, present and future. Released simultaneously in November 2026 and distributed worldwide by Clone Distribution, the three records are less a retrospective than a continuation of what Assemble has been building since the beginning: music with character, made by artists with their own language, away from trends and easy categorisation. Across fifteen years, Assemble has moved freely between house, techno, electro, dub and more experimental forms of electronic music. The catalogue has never been defined by one particular sound, but rather by a certain approach, personal, uncompromising and built to last. Part II begins with Eduardo de la Calle, whose uncompromising approach to techno and electronic music has made him a natural part of Assemble's more recent history. His contribution continues a relationship that has developed through releases and appearances around the label showcases. Tom Dicicco & Roger 23 move into deeper ambient techno territory, bringing together two producers whose work has always pushed beyond the conventional boundaries of house and techno. Radboud Mens is a Dutch sound artist and composer whose work has long explored the space between experimental electronics, minimalism and techno. Active since the early 1990s, his approach is built around repetition, texture and the physical qualities of sound. His contribution to the compilation reflects this perfectly with a deeply minimalist piece, stripped back to its essential elements, where subtle shifts and details gradually shape the track. Chicago's Hakim Murphy represents another long-standing Assemble connection. His relationship with the label goes back years, and his raw, instinctive approach to house and techno embodies much of what Assemble has always looked for in an artist, individuality before formula. Closing the second record, Myles Serge delivers a pure definition of deep techno, hypnotic, atmospheric and deeply immersive, built on subtle movement and timeless Detroit-rooted sensibilities, establishing a new connection with the label."

Sweep returns with its second release, bringing together Jigit co-head O.Bee and Unreleased boss Cem G. ‘Makes Me Feel’ is the first music to see the light from a long-standing friendship and collaboration shaped between their two homes, New York and Istanbul, and comes backed with a stirring remix from Giegling’s Edward.

O.Bee and Cem G bring forward a sound rooted in Istanbul’s music culture, developed through ReSolute’s warehouse parties on the outskirts of Brooklyn and refined at Berlin’s Club der Visionaere. It’s music that feels equally at home in all three settings. Dyed Soundorom’s Sweep is built around underground sounds with depth and groove — much like his own DJ sets — and this second release sits naturally within that world.

On side A, the original mix of ‘Makes Me Feel’ rolls out with a sturdy groove from the start. O.Bee and Cem G build the energy carefully, peppering the ethereal atmosphere with a repeated vocal clip as the tension grows. A variety of percussive layers and pads add depth, keeping you locked in. Halfway through, the vocal goes into full flow — scattered words bounce around like a jumbled poem, evolving into a call and response of dissipating voices on top of the rolling bass, fully hypnotizing. Underground music par excellence.

The flip features a rework from one of Giegling’s central figures, Edward, who adds a tougher edge to the original. Still operating in the deeper end of the spectrum, the remix plucks out the ‘Make me feel’ part of the vocal and uses it throughout. Dark, brooding and enchanting, Edward’s reinterpretation progressively adds more layers, increasing the dynamism while bringing further nuance to the atmosphere. A real treat for Edward fans…

If you caught Dyed Soundorom playing anywhere, you surely would have heard these cuts in the mix. Perfect dancefloor groovers… Now they’ve finally arrived on Sweep — c'est l'heure de la fête!

Younger Than Me announces his debut full length "The Golden Age Of Love", to be released on 90's Wax this coming March 2024. The record is the perfect example of the breadth of his irrepressible and unique sound. Featuring collaborations with Massimiliano Pagliara, Brame & Hamo and Pablo Bozzi. The artist is an Italian native known for a modern interpretation of '90s club music' - a dynamic blend of Progressive House, Trance, EBM, Breakbeat, and Techno ideas. This first album is a love letter to a deep-rooted passion for the idiosyncrasies of rave culture and the crossover points with contemporary electronic music.

Younger Than Me, an artistic project by Francesco Mingrino that is steeped in the nostalgia of ‘90s rave, yet not at all trapped in that past. A project that has cemented a special place in the electronic music scene with a string of records on labels like Bordello A Parigi, Amsterdam-Utrecht based platform XXX, Rotterdam’s Bar and Jennifer Cardini’s Dischi Autunno. To this point Francesco has pushed his fun yet forceful sound, with many releases on his own 90's Wax, and collaborations with people like Skatebård, Francesco Farfa, Timothy Clerkin and Curses (as Y2C).

"The Golden Age Of Love" as a package is curated in Younger Than Me's characteristic style. Opening with "Long Life Death", a track that sets the stage with a cinematic soundscape in a classic Carpenter vibe. Picking up the tempo "Zarathustra Dance" takes you right into the golden age itself, its low slung beat and carefully sequenced lead line pushes an ever building tension designed to crack any dancefloor. The track with Massimiliano Pagliara, "Eternal Sunshine Of Solitary Mind", is one of the highlights, perfectly building around a catchy lead with tight arpeggio and sequenced acid. Leading us into the 2nd half of the record "Sadness Is The Only Way To Happiness" is a proto-trance beast, inspired by that period in the early 90s when Trance was less bright lights and big stages and more dark rooms and smoke filled spaces, an ever building progressive run of haunting vocals, rave stabs and rolling bass.

Whilst YTM is at home presenting dancefloor focussed material, we see him explore the other side too, with "Memory Is A Clock" like the earlier "Vortix", he ditches the 4x4 for breakbeat territory. Whilst the bass keeps the solid metronome you would expect, "Memory Is A Clock" is a track that takes a few moments, contemplative melody and trademark arpeggios take the lead. When it comes to the other collaborations on the record, the appearance of Brame And Hamo on "Raver's Heart Is A Mess" sees them lean into the Progressive nature both artists love so much. Then Pablo Bozzi lends his own unique outlook to "We Don't Know The Way, We Just Stay" in one of the standout tracks, epitomising Younger Than Me’s ability to create profound experiences.

The album concludes with "Music Will Never Stop, Heartbeat Will Never Fade, Party Will Never End", less of a title and more of a personal philosophy – the perpetual essence of rave culture and its timeless impact on music. A rhythmic belter, juxtaposed with incendiary synth-lines and staple catchy sequence work, finishing the record with one of the true highpoints. In addition the release also features four digital bonus tracks, including "The Other Face Of Loneliness" and a Prog Dance Reshape of one of the records more eclectic cuts "Zarathustra Dance" all offering an extended exploration into the creative landscape YTM inhabits.

"The Golden Age Of Love" is a debut album that ticks all the boxes; it's a celebration of a bygone era through the lens of the contemporary. Younger Than Me stands as a testament to the enduring spirit and evolving nature of the music that began in the ‘90s rave scene, with an LP that pushes Love, Progression and Fun to the forefront.

Two years after Return of the Boom Bap, KRS-One returned with his self-titled second solo album and again enlisted the beat-making excellence of DJ Premier as well as Showbiz, Diamond D and others behind the boards. Lead single 'MC's Act Like They Don't Know' is a stone cold classic that still gets heavy rotation and exemplifies One's lyrical heft. It is backed up by gems like 'Represent The Real Hip-Hop' featuring Das EFX, while Premier strikes again on the state-of-hip-hop anthem 'Rappers R. N. Dainja,' and 'De Automatic' delivers straight boom bap alongside Fat Joe. Political and social commentary runs deep on 'R.E.A.L.I.TY.' and 'Free Mumia' with Channel Live, while 'Wannabemceez' with Mad Lion keeps the sucker-MC disses coming.

The NE21 stands as one of the most mysterious and elusive projects within the contemporary post-punk and minimal wave landscape. With only two previous releases—through Domestica and She Lost Kontrol—the project has already secured an unquestionable place among the essential names of the genre. After five years of complete silence on the release front, “No Zone” marks their long- awaited return. The record expands the project’s unmistakable universe: cold synth lines, suspended atmospheres, hypnotic rhythms, and a haunting sense of isolation that moves between Trisomie 21 minimal wave austerity and Neon’s emotionally charged post-punk tension, aligned with other Italian wave visionaries such as DsorDNE while connecting with newer tendencies in electronic krautrock and proto-experimental music. Everything in “No Zone” feels deliberate and restrained, unfolding a ghostly elegance, balancing shadowy electronics with sharp melodic instinct. With “No Zone”, The NE21 not only return—they reaffirm their singular position as one of the most distinctive and enigmatic voices operating in the darker edges of underground electronic music. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Our previous remix-EP of Ness' classic album "Flesh Of The Gods" was, for various reasons, a long and slow process. When Ness himself suggested us to ask Vladw for a contribution we finally had a good reason to reach out to a long time favorite @ the Navigare HQ. Although located, literally, on the other side of the planet, his deep, driving and breezy productions ring true to our, slightly northern, musical vision. So we are not surprised that his excellent remix of "Transilient" is, already, one of the most celebrated tracks in our half decade long history. We asked for more, and finally we are able to present three brand new originals, seeded, watered and harvested with a Navigarean intent. Three highly functional pieces, aimed at focused dancefloors underneath open skies, balancing the beautiful and lush with the edgy and slightly twisted. Although being our first ever collaboration, any Navigare listener would understand that Luigi Tozzi has played a huge role for us on our path. Since his first releases with Hypnus we've listened carefully, on repeat, for a dozen years by now. A guiding light for our scene, always curious, always pioneering, yet always on point. His remix of "Drya" takes the harmonix of the original, adds a monstrous bassline and - trust us on this one - that massive clap will cause a mass frisson on the dancefloor. Trust Navigare Audio...

Puerta Negra presents “Metafísica”, the third chapter in the project’s subversive and revolutionary sonic vision. Moving again through the outer edges of EBM, industrial funk, and mutant electronics, the new EP channels the raw physicality of contemporary American body music, aligned with acts such as High-Functioning Flesh or Spike Hellis, alongside the fractured futurism of late-’80s Cabaret Voltaire and its mutant new beat mutations. The result is tense, hypnotic, and deeply confrontational. At the center of the record are the stripped-down, unfiltered vocals of María Aguirre, moving through broken, hallucinogenic rhythms that continuously destabilize and reconstruct the groove. Mechanical yet visceral, cold yet intensely human, the tracks unfold like transmissions from a collapsing future. With “Metafísica”, Puerta Negra continues to push its singular language forward: radical avant-garde body music for the most restless corners of the underground — perfectly suited to ignite a revolution. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

2026 Repress

DJ Support from Luke Una, Colleen 'Cosmo Murphy' and Greg Wilson.

Two bona fide classic 70s cuts reworked for now.

‘Papa Stoned’, Ian Ossia’s driving take on one of disco’s seminal tracks, the Norman Whitfield masterpiece, ‘Papa Was A Rolling Stone’ by The Temptations, relentlessly hammers the groove home, leaving the dance floor no option but total surrender.

‘Dream A Dream’ sees a 1994 Ian Dewhirst re-edit of the glorious ‘Dreaming A Dream’ by Crown Heights Affair respectfully retouched by Ché & Matica, who bring the beats into time, overdub additional elements and create a DJ friendly intro/outro for what is an essential update.

The Sound Of Slip ’n’ Slide, Vol. 1 launches a brand-new series from the legendary Slip ’n’ Slide catalogue, bringing together a selection of timeless house and deep house cuts from some of the genre’s most respected artists.

Featuring standout productions from Blaze, Cassio Ware, Black Rascals and Alex & Rai, the release captures the soulful, vocal-led sound that helped define underground house music across the 90s and beyond. Including favourites such as Blaze’s Moonwalk and Cassio Ware featuring Sajaeda’s Fantasy (Klubhead Mix), this first volume brings together a selection of proven dancefloor records in one DJ-friendly vinyl package.

With warm grooves, uplifting vocals and timeless club arrangements throughout, these tracks continue to resonate with both long-time house collectors and DJs looking for reliable dancefloor material.

As the first edition in The Sound Of Slip ’n’ Slide series, this release offers a strong opening chapter for the new compilation run, now available on fresh black 12” vinyl. A strong catalogue addition for stores supporting classic house, deep house and soulful underground sounds.

Dal Platinum returns to the Toxic Funk series with another double-sided serving of funky breakbeat gold, once again proving why he remains one of the most creative beat craftsmen in the global Nu Funk scene. Following up on his previous Toxic Funk outing, the Danish groove specialist delivers two fresh cuts packed with soulful samples, neck-snapping drums and irresistible dancefloor flavor.

Leading the charge on the A-side, Shave the Lords blends tight funk breaks, slick edits and classic party-rocking energy into a heavyweight groove designed for DJs and crate diggers alike. Flip the vinyl over and Good Shines takes things deeper with infectious basslines, uplifting vibes and a raw funky swagger that perfectly captures the spirit of the Toxic Funk series. Both tracks carry Dal Platinum’s unmistakable signature style — playful, soulful and built to move crowds.

This 7” release marks yet another essential chapter in the Toxic Funk legacy, delivering timeless grooves for funk lovers, breakbeat heads and vinyl collectors around the world. Toxic Funk Vol. 22 is ready to bring the heat straight to your turntable — so don’t sleep on this limited 45 before it disappears into the crates of DJs worldwide!

Damage Code is the result of the convergence of two long-standing figures from the underground industrial and EBM scene: Carlos Grabstein (89s✝) and Ben Bunzen (Hammershøi). Released in partnership with Miseria records, their first collaboration unfolds through proto-industrial sequences, oppressive atmospheres, repetitive structures, and distorted transmissions, all wrapped in body-driven percussion that pulls the listener into a controlled state of sensory overload. Harsh yet precise, ritualistic yet futuristic, the record advances with relentless intensity while maintaining a raw, physical energy throughout. Somewhere between the diseased electronics of Front Line Assembly and the primitive industrial tension of Esplendor Geométrico, Digital Slave channels a sound that is both confrontational and hypnotic. With “Digital Slave”, Damage Code opens a new portal into industrial body music: dense, punishing, and engineered to trap the mind inside its circuitry. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Synaptic Cliffs proudly welcomes Annie Hall for her label debut. With the Future Sports EP, she once again expands the boundaries between machine funk, speculative sound design, and forward-thinking club music. Delivering her signature fusion of IDM, electro, fractured breakbeats and experimental electronics, she sculpts a metallic, high-definition vision that feels as though it has been transmitted directly from centuries ahead.

Future Sports imagines the sonic landscape of sport in the year 3024. In a future where society has paradoxically stripped itself back to the essentials, aesthetics have returned to the elegance and restraint of the 18th and 19th centuries. Amid this cultural shift, fencing has emerged as the defining global sport, elevated from historical discipline to mass obsession.

Throughout the EP, the sounds of these future arenas become musical raw material: the sharp clash of advanced foils, the resonant impact of engineered protective gear, the tension of ritualized competition, and fragments of other, unnamed sports from a distant age. Annie Hall transforms these imagined athletic acoustics into intricate rhythmic structures and futuristic melodies, allowing the machinery and choreography of competition to shape the record's sonic identity.

The result is a vivid soundtrack to a world yet to come - precise, kinetic, and unmistakably futuristic, where sport, technology and sound merge into a singular vision. Future Sports is both a speculative narrative and a club-ready statement from one of electronic music's most distinctive voices.

As a special bonus, the EP features an animated picture label. When played at 45 RPM and viewed under a stroboscopic light operating at 9 Hz, the artwork comes alive, revealing a hidden motion sequence. Blurring the boundaries between sound, design and optical illusion, this kinetic visual layer extends the EP's futuristic narrative into the physical realm, transforming the record itself into an artifact from the year 3024.

"Some of my earliest musical memories were listening to my local pirate stations in the early 90's. The signal was quite weak in my area, and the sound was doused in FM static, creating this interesting amalgam of rhythm and noise. I found a strange sort of comfort in this, often falling asleep while listening to the radio, in bed, with my headphones on. The stations were run by young people, no older than kids really, relayed from non-descript flats, scattered around Bradford, Leeds, and the surrounding towns of West Yorkshire. The setups were primitive, and the production quality (and often the mixing) were dubious at best. But there was an endless supply of passion, and listeners tuned in because they were thirsty for something the legal stations could never supply. These voices on the other side of the transmission were, for many of us, a bridge into the future. One, which sadly, never really came to be. Hardcore, Static: Pirate Transmissions From The North of England 1990-1994 is a celebration of this unique period in UK history. The North of England feels overlooked during this time, with history's focus firmly gazed on London. But the signal was everywhere. These pirate stations were crucial for many young people, who were trying to find their place and identity in the UK. Many of these transmissions, even the ones which were recorded onto tape, have since become lost media, effectively erased from history. Radio, at least in the analogue domain, isn't something most young people have any experience with. Pirate radio was this unique flashpoint in time, and for me at least, it was important enough for me to want pay my respects to it" Dennis/36

2024 Restock

A mix of post-Tropicalia Brazilian rock and some of the more soulful elements filtering through the country's music in the early 70s  and one of the most enigmatic albums by this unique singer! Sergio's got a sound that's incredibly hard to describe  at once sweet and melodic, but also kind of twisted, in an intimate singer/songwriter mode. The production of the album is compressed with a number of post-Beatles touches that make it sparkle like work by Caetano Veloso in the mid 70s, or some of the Peruvian rock by groups like We All Together  and hearing the record gives us the same sort of excitement of new discovery as when we heard their best work. Titles include "Rulzito Seixas", Viajei De Trem, "Pobre Meu Pai", "Labirintos Negros", "Filme De Terror", and Lero E Leros E Boleros

There’s no direct English translation for the word “hiraeth”. In the Welsh language, it describes a form of longing for an intangible something, somewhere or someone that no longer exists. Sofie Birch and Antonina Nowacka draw on the concept to guide their second collaborative album, a suite of vulnerable, open-hearted improvisations and reflections that attempt to grasp an image of the past that’s chimeric, dissolving almost as soon as it materializes. The duo’s process follows the same distant beacon; unlike Languoria, their critically acclaimed debut, Hiraeth is, at heart, an acoustic record, informed by in-person improvisations with voices and string instruments that gesture to an era before computers, AI and DAWs. It’s just as lush, but Hiraeth is warmer and more muted than its predecessor.
Nowacka and Birch conceived the album in the wake of a slew of collaborative live concerts, spurred on by serendipitous improvisations and an interest in paring down their setup. Unsound arranged a retreat in Sokołowsko, an idyllic village nestled in the verdant hills of Southern Poland, close to the Czech border. Sokołowsko surrounds a large ruined sanatorium that’s rumored to have inspired Thomas Mann’s 1924 novel The Magic Mountain, and has long been a magnet for artists. The two took the opportunity to rethink their approach completely, arriving with just a guitar, a zither and a portable Nagra reel-to-reel machine. Recording directly to tape, they sketched out ideas with just their voices and instruments, reflecting their surroundings without being distracted or mediated by modern technology.
“We wanted to get away from screens as much as possible,” says Birch, “to bring to the world something vulnerable and honest. Without advance preparation, every day we went out into the open air, finding places to sit, during sunset or the midday sun. We discovered new tunings on our instruments, picked up a melody, and started the machine, playing over
and over till we got a take.” In the autumn, they met again in a Copenhagen studio, sparingly and carefully layering old synths and organs to add more depth without muddying the mix.
Both Nowacka and Birch sing throughout, their voices threading the acoustic instruments and tangling with each other, almost becoming one. But it’s the environment of Sokołowsko, “the birds and the light, even the wind playing against the harps,” that’s woven into the music’s lining. Affected by time spent meditating and in nature, as well as the fact that Birch was pregnant whilst recording, the album feels alive and remarkably present. Even the sound quality of the tape machine gives Hiraeth a tactile, organic quality, as Nowacka puts it, “like being in a warm bath.”

They still have the raw recordings from Sokołowsko on old reels, physical souvenirs of their time spent making music in a “habitat for intuitive songs, a little ecosystem, alive and spirited.” The outmoded gear and remote setting helped the duo disengage from the modern world for a few moments and imagine an existence that’s been lost to time and nominal progress. With digital technology receding into the background, Nowacka and Birch had space to make “intuitive connections with frequencies and people,” as Birch explains. Hiraeth is a testament not to nostalgia, but to the power of kinship.

Mario Batkovic’s music occupies a singular space between composition, performance and sonic experimentation.
Based in Bern, Switzerland, the composer, accordionist and multi-instrumentalist has developed an intensely personal musical language rooted in a radical interrogation of the accordion — its timbre, mechanics, physicality and rhythmic potential. In Batkovic’s hands, the instrument becomes something far beyond its conventional role: a source of intricate, evolving sound in which performer and machine appear to become one.
Batkovic received International critical acclaim when his eponymous debut album was released on Invada Records in 2017, with Rolling Stone listing it in the top 10 avant-garde albums of the year. ‘INTROSPECTIO’ followed, a self-questioning, self-examination of society which featured collaborations with Colin Stetson, James Holden and Clive Deamer (Radiohead / Portishead).
II sees Batkovic venture further into radical, uncompromising and experimental territory, both in the reduction and the expansion of sound. Voices overlap, rhythmic structures develop an almost mechanical force, and layers of sound evoke analogue synthesizers. Then everything falls away: near-total silence, the breath of the bellows, a single frequency. Sounds emerge that can barely be traced back to any particular instrument.
The album is built entirely around the physical relationship between one musician and one instrument. No loops, no electronic layers. Everything you hear comes from an uncompromising exploration of the instrument itself. A primal force of creation and destruction.
With credits that include music for the global hit game 'Red Dead Redemption II’, commissions for AMI Paris, Cartier Fondation, Hugo Boss, Chanel and film scores ‘Mad Heidi’ and ’Shame and Money’ his compositional work has extended into some of the most distinctive fields of contemporary culture.

UK born, Fremantle-based producer Jon E. makes his return to Natural Element, after his sell-out debut release ‘Smoke’ in 2025 captured the attention of DJs and dancefloors around the world.
Here sees the first of a two-part series of EPs that displays the fruits of a deeply creative phase following an injury that had him bed bound for months. The sonic progression from his debut is tangible across all four tracks, with an enhanced palette and clear versatility. The EP is a deeper expression of his production skills and unique, authentic sound. Natural sounds of the city make for an organic touch throughout, giving tracks an atmosphere that makes them feel alive. ‘One More Time’ sets the pace with an irresistible groove that is both bold and refined, steeped in jazzy tones and calling to mind summer day parties. ‘We Can Make It’ is a blissful and uplifting jam that goes on a journey of its own, leaving a lasting impression with the delicate, distinct vocals of Roxanne forming a perfect match. On the flip, ‘Raise Them Up’ takes things a little deeper with a moody roller inspired by Moodymann, and ‘Day n Night’ rounds off the record in style with a more lo-fi groover exhibiting loose drums, intricate percussion and floating brassy licks.

*First-ever release on vinyl
*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes
*Vinyl includes 5" x 7" postcard print

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."