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“The Hollowing of Godflesh is the most complete representation of Crown Magnetar we've ever put together. We pushed every aspect of our songwriting further without losing the intensity and rawness that defines the band. We wanted to take what people expect from us and push it further by adding more atmosphere, bigger moments, and even more aggression without sacrificing anything. You’ll hear it in the insane riffing of new guitarist Rob Maramonte, who has spent time as a member of Fallujah and The Zenith Passage, as well as performed live with Thy Art Is Murder and All Shall Perish.” “The Hollowing of Godflesh is a highly sharpened version of Crown Magnetar. It delivers unrelenting brutality and is sure to please old and new fans alike.”

Lord Sko’s Sophomore Album ‘UNITED PALACE’ is a record chock-ful of homage, past & present pop culture references & youthful exuberance expressed with a vintage New York attitude. With contributions from Meyhem Lauren, Da$H, Wiseboy Jeremy, LIFEOFTHOM & Kuriousul references to the entire cityscape, this is an album that thoroughly represents both Classic & Modern NY culture through the eyes of a Young Uptown MC. With contributions from Meyhem Lauren, Da$H, Wiseboy Jeremy, LIFEOFTHOM & Kurious Jorge, UNITED PALACE could sonically & aesthetically fit anywhere from the Golden Age to the Blog Era & Far Beyond into the future.

,Prophetic Perfect Tense" ist das neue Album von Oren Ambarchi bei Kou Records. Der australische Gitarrist und Komponist gilt als eine der unermüdlichsten und einfallsreichsten Persönlichkeiten der experimentellen Musik der letzten drei Jahrzehnte. Als Gründer von Black Truffle Records und versierter Kollaborateur, der bereits mit Keiji Haino, Jim O'Rourke, Johan Berthling und Andreas Werliin - präsentiert sich Ambarchi hier in seiner reduziertesten Besetzung: Solo-Gitarre, zwei Seiten, zwei Takes, minimale Effekte. Während seine Studioalben typischerweise konzeptionelle, vielschichtige Werke mit Gastmusikern waren, bricht ,Prophetic Perfect Tense" dieses Muster vollständig - nach seinen eigenen Angaben ist es das konventionellste Soloalbum mit Gitarrenklang, das er je aufgenommen hat, und das, was im Studio der Live-Energie seines ,Ghosted"-Trios am nächsten kommt. Aufgenommen im Studio Dede in Tokio im Januar 2026 und produziert von Randall Dunn, begann das Album als Akt hartnäckiger Zurückhaltung - irgendwo zwischen Joao Gilberts leisem, selbstbetiteltem Album von 1973 und Alemu Agas ,Bägänna"-Sessions. Doch sobald das Band durch eine Leslie-Box, einen Fender Twin und einen Ampeg B-15 in einen Telefunken-24-Spur-Recorder lief, entstand etwas ganz anderes: ein lockerer, abstrakter Shuffle, warm und dreidimensional, bei dem Verstärkerbrummen, Saitenquietschen und Raumgeräusche unverändert blieben. Beide Seiten in einzigen Takes. Ein Gitarren-Overdub wurde auf Randalls Drängen hin hinzugefügt. Eine Platte, die wie ein Raum klingt, nicht wie ein Studio. Aufgenommen, abgemischt und produziert von Randall Dunn. Gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Lackschnitt von Paul Gold bei Salt Mastering. Cover-Artwork ,Untitled, 1977" von Kazuko Miyamoto, Foto mit freundlicher Genehmigung des Nachlasses von Kazuko Miyamoto / Zürcher Gallery, NY. Porträt auf der Rückseite von Ken Langraf

,Altarpiece H. af K." ist das neue Album von Eric Wubbels bei Kou Records - Komponist, Pianist, Co-Direktor des New Yorker Wet Ink Ensembles und Preisträger des Ernst von Siemens-Komponistenpreises 2023, einer der renommiertesten Auszeichnungen in der zeitgenössischen Musik. ,Altarpiece H. af K." hat seinen Namen und seinen inspirierenden Geist den Gemälden ,For the Temple" von Hilma af Klint entlehnt - monumentale Werke, die für einen Raum konzipiert wurden, der noch gar nicht existierte, gerichtet an einen zukünftigen Zuhörer. Wubbels begegnete ihnen 2018 im Guggenheim und ließ diese Begegnung in ein Stück einfließen, dessen vollständige Umsetzung sieben Jahre in Anspruch nehmen sollte: von einer E-Mail aus der Pandemiezeit an die Fagottistin Dana Jessen, in der er etwas Einfaches vorschlug - Multiphonik, Überlagerungen, vielleicht einen Kanon -, über Live-Auftritte in der Fairchild Chapel, bei Elastic Arts und in einer existentialistischen Kirche in Atlanta bis hin zu einer Aufnahmesession im Dezember 2025 im Power Station Studios in Midtown Manhattan, dem Raum, in dem ,Like a Virgin" und ,Let's Dance" entstanden sind. Die Besetzung - drei Fagotte, gespielt von Dana Jessen, Ben Roidl-Ward und Katherine Young - ist rein akustisch: keine Live-Bearbeitung, keine Elektronik. Was du hörst , ist das Instrument selbst, bis an seine Grenzen getrieben. Wubbels' Komposition nutzt die Fähigkeit des Fagotts zu Multiphonik und mikrotonaler Modulation, um sich überlappende Spektren aufzubauen, die voll und ganz aus den grundlegenden akustischen Eigenschaften der Instrumente entstehen - Obertöne, Differenztöne und Schwebungsfrequenzen, die den drei Musikern im selben Raum entlockt werden und einen seltenen Raum zwischen den spektralen Welten von Scelsi und Dumitrescu und dem anhaltenden physischen Gewicht von Sunn O))) einnehmen. Über zwei lange Sätze (Reh. A und Reh. C) hinweg häufen sich diese dichten, vibrierenden Spektren zu etwas an, das sich zwischen Stillstand und Vorwärtsdrang bewegt und an der Schwelle zwischen Tonhöhe und Rauschen schwebt. Das Stück gipfelt nicht in einer Auflösung, sondern in einer Transformation durch anhaltende Aufmerksamkeit. Aufgenommen, abgemischt und produziert von Randall Dunn. Gemastert von Ben Greenberg. Dolby Atmos-Mischungen von Ben Greenberg. Lackpressung von Paul Gold bei Salt Mastering. Cover-Artwork von Thomas Hooper; Porträt auf der Rückseite von Julie Bell.

,Reona" ist das Debütalbum von REONA bei Kou Records - Stepptänzerin, Metal- Percussionistin, Improvisatorin und eine der originellsten Klangkünstlerinnen der heutigen Zeit, weltweit. Das Album wurde im Januar 2026 an zwei Tagen im Studio Dede aufgenommen und von Randall Dunn produziert. Es fängt REONAs ganzkörperliche Performance in Echtzeit ein: Stepptanzschuhe und ein Holzbrett als rhythmische Grundlage, überlagert von Metallblechen, Ketten, Edelstahlschalen, Plastiktüten, Lautsprechern und einem ganzen Arsenal an gefundenen und handgefertigten Objekten, die im Laufe jahrelanger Auftritte gesammelt wurden. Die Instrumente tragen ihre eigene Geschichte in sich - ein Schild aus Okinawa, auf dem die Warnung vor nicht detonierten Bomben steht, ein Schild einer Transportfirma aus dem Jingisukan-Topf-Museum in Iwamizawa, eine Festglocke, die zu Beginn der COVID-Ära erworben wurde, südindische Essgeschirr, ein Ölkännchen aus Taiwan. Stampfen, kratzen, berühren, schlagen, blasen, stöhnen - REONA nutzt alles voll aus, von ihren Beinen bis zu ihrem Mund, und lässt dabei die Grenze zwischen Tanz und Percussion, Körper und Instrument verschwinden. Ihre Praxis befindet sich an einer selten besetzten Schnittstelle: die japanische Noise-Tradition von Merzbow und Otomo Yoshihide auf der einen Seite, die perkussive Körperlichkeit von Milford Graves und Han Bennink auf der anderen - ohne Präzedenzfall dafür, was passiert, wenn diese beiden Welten in einem einzigen Körper aufeinandertreffen. Track 7, M108, enthält einen Gastauftritt von Atsuo - dem Schlagzeuger der legendären japanischen Rockband Boris - in einer Kollision zweier unterschiedlicher, aber verwandter Ansätze zu Rhythmus und Noise.? Aufgenommen, gemischt und produziert von Randall Dunn. Gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Lackschnitt von Paul Gold bei Salt Mastering. Cover-Artwork ,Legend of the Snow Spirit" von Kazuki Tomokawa; Porträt auf der Rückseite von Allison Brant.

On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.

This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.



The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.



FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.

A heavy, club-focused tribute vinyl. The MONOLOG mixes lead with live instrumentation, shifting from sultry-house "BUTTER' to heavy Afrobeat "STARTIN". The flip features a peak-time powerhouse "WHO'S BAD" and the techno weapon "MIRROR". Built for the selector's essential crates.

Max Cooper delivers the latest instalment in the acclaimed fabric presents series, marking a landmark release as the first tracks to be presented in Spatial Audio. Fusing his signature blend of emotive electronica, immersive sound design and club-focused energy, the project captures Max’s ability to bridge the gap between cutting-edge technology and deeply human storytelling. Featuring exclusive material alongside carefully curated selections, the mix places him alongside previous fabric presents contributors including Daniel Avery, Overmono, Helena Hauff and Mount Kimbie, while pushing the series into new sonic territory.

Leading the accompanying EP is Flecks, a collaboration with LSB that pairs fast drum & bass breaks with Max Cooper’s unmistakable immersive production. Referencing the iconic Hurt You So break, the track fuses old-school jungle influences with a modern, spatial mix, hypnotic synth lines and subtle vocal fragments draw the listener deeper into its expansive soundscape. Also featured is Bredren’s Hash (Max Cooper Remix), a tension-filled drum & bass track built around distorting basslines and constantly evolving movement.

The EP's focus track, AO, sees Max Cooper reunite with Rival Consoles for a more introspective moment. Swapping high-tempo breaks for a slower electronica and house framework, the track unfolds through beautifully detailed percussion, organic rhythmic textures and sweeping synth melodies, culminating in a soaring central passage that showcases the pair's shared gift for emotionally resonant electronic composition.

Released via fabric Records, fabric presents: Max Cooper represents another evolution of the long-running series, a release that is equally at home on immersive listening systems and the dancefloor.

Skarra Mucci, the globally acclaimed Jamaican MC known as the "Dancehall President", partners with Manudigital, one of Europe's top producers, to bring us the full-length album Ragga Blasta.


Following the success of their self-titled EP, the duo doubles down by expanding the concept into a complete 10-track album, delivering a varied, multi-inspired showcase where hybrid beats meet core sound system culture. This project retains the essence of their initial release: the energy of title track Ragga Blasta blending reggae and boom-bap hip-hop, Angel’s ragga beat and intoxicating Likkle Devon sample, alongside the heavy basslines of Freedom Fighter. It also features the more introspective rub-a-dub vibe of Inna Mi Brain, the explosive ska collaboration with Queen Omega on Feel It, and the atmospheric dub of Natty, where Skarra delivers razor-sharp rap flows.


This long-form edition packs an even bigger punch with four brand-new tracks built to shake sound systems and dancefloors alike. Skarra Mucci showcases his technical mastery on Lyrics Machine, a hard-hitting, hip-hop-infused track, while delivering a powerful, anthemic dancehall tune with Nah Fraid No Police. The tracklist further elevates with a legendary feature from Johnny Osbourne on What A La La, before broadening its musical horizons through the festive, hybrid sounds of Rock This Cumbia.

2026 Repress

Donato Basile AKA DJ Plant Texture always wants his music to tell a story, and with his debut EP on Tresor Records, entitled Life, he’s now trying to tell the biggest story there is. According to the artist, “Life is about the fear of growing up”; both the anxiety itself and acknowledging and moving past it.
This narrative seems to have struck a chord with those who have heard the track, “People want to reflect themselves in the music; something personal. Lots of people have been in touch after hearing it; I guess they feel something melancholic in it. Personally, I imagine the track is like the life of a person; going from being born through childhood and youth and onwards, so perhaps they hear this?”
Having used an MPC since the early 2000s, Basile feels an intuitive connection to the hardware he uses, and so the creative process is very spontaneous: “I know where everything is so the music is made immediately. I make everything in the first ten minutes; after that if it’s not right then I just abandon it and start something else.” This immediacy, and familiarity with his equipment is apparent on the A-side, where Basile’s previous life as a drummer comes to the fore and tracks like Cycles and Ripetivo display his native understanding of groove but also how to stir things up - the three A-side tracks find classic techno rhythms seemingly falling apart only to snap back into place even stronger. The B-side finds Donato exploring more of his melodic side with WTT and the aforementioned title track showing Plant Texture’s love of breakbeat and classic techno.
The three digital bonus tracks continue this exploration of melody and syncopated beats - The EXP Days echos the wistful feeling of Life, as Basile meditates on the times spent at EXP, his record shop in Bari, which functioned as a meeting place for electronic producers in the area.

SENSE004 sees Helsinki’s Kaspiann deliver a four-track journey of deep, psychedelic exploration. Blending heavy forest-psy influences with alienating, primitive sound design, the EP creates an immersive atmosphere that pulls listeners straight into the untamed depths of the Finnish woods.

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

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

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

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

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

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

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

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

Morcheeba return with the second EP in their Remix The Chaos project - a year long series of releases reworking all the tracks from their 2025 studio album Escape The Chaos. Volume 2 is headlined by London art-rockers Django Django who inject a fresh garage pulse into Hold Me Down and prolific producer Rex The Dog who transforms the Latin subtleties of Dead To Me into an extended electro powerhouse.

Elsewhere, experimental producer Daedelus takes Cooler Heads into leftfield IDM territory, and regular Morcheeba remixer Merther Hum turns the album title track Escape The Chaos into deep, refined dub.


Ready in equal parts for the dancefloor or your sofa late at night, these bold reinterpretations push Morcheeba’s seminal sound further towards electronic music’s outer edges. Presented on rubber duck yellow vinyl in classic disco bag packaging, Remix The Chaos (Volume 2) is just the latest in a series of unmissable releases from the trip-hop titans.

From the globally acclaimed spiritual jazz album RUSHIN' (Mono Jazz), "PHAROAH'S MESSAGE" channels the spiritual legacy of Pharoah Sanders and John Coltrane into the present day. At its center is Joe Claussell's expansive alternate remix, where Afro-diasporic ritual, deep house, and jazz mysticism converge. Also featuring Didje Doo, with a Balearic sound and WATH with an Eastern Sound, this release reimagines the spirit of jazz for a new generation of listeners, dancers, and seekers.

The Future Bubblers compilation brings together artists from across the Academy cohort and wider applicant community, with sounds spanning jazz, soul, electronic, hip hop, folk, experimental and everything in between. It’s a snapshot of the boundary-pushing talent emerging through the Future Bubblers community. This rollout is designed to put the people who make independent music possible at the heart of the release: listeners who choose to support artists directly, record shops that nurture culture locally, and the community that has grown around Future Bubblers over the last decade.

It’s rare for a hardcore punk band to make four full-length albums, and rarer still for the fourth album to be the band’s masterpiece. Yet Paratiisi, the fourth album from Helsinki punks Kohti Tuhoa, stands as the undeniable coup de grâce of a catalog overflowing with classic hardcore punk. If you’re already a fan, it’ll comfort you to know Paratiisi leans heavily on the strengths Kohti Tuhoa has possessed since their earliest releases: a timeless sound that combines UK82 drive and hooks with dramatic metal flourishes; a captivating vocalist with the perfect balance of grit and clarity, who can both howl like a banshee and carry a tune; and a particularly Finnish way with a driving, medium-fast tempo. But for all the continuities with Kohti Tuhoa’s excellent previous records, Paratiisi almost feels like the work of a new band. The riffs and choruses that anchor the album are impossibly catchy; Paratiisi bulges with huge moments that practically force you to air guitar and sing along (even if you don’t speak a word of Finnish), the band’s peerless chops and the rich and clear recording driving these climaxes to dizzying highs. But while the hooks are memorable, there isn’t a moment on Paratiisi that feels dumbed-down or overly familiar.

In fact, the album feels notably ambitious, pulling influences from across punk’s historical and aesthetic breadth and digesting them seamlessly into Kohti Tuhoa’s distinctive sound. The lyrics (don’t worry: English translations are included!) meet the same high bar as the music. They’re direct, assertive, and punk, but they’re also subtle and insightful, whether they’re tackling huge issues like microplastics or sharing a very personal account of a sexual assault and its aftermath. And then there’s Paratiisi’s most unexpected moment, “Eliitin Psykopatia,” a free punk freakout in the tradition of “Why (Reprise)” and “L.A. Blues.” If Kohti Tuhoa’s brief foray into free jazz tries your patience, though, don’t worry, because after three minutes of building tension, they reward you with what is bound to be the best riff of 2026, a clash of chords potent enough to blow holes through walls the world over. Paratiisi is the sound of one hardcore punk’s most exciting bands at the height of their powers.

Southernplayalisticadillacmuzik, the debut album by Outkast, was released in 1994. The album,

featuring live instrumentation and elements of funk and soul, addressed coming-of-age themes

and urban life in the South. A critical and commercial success, the album helped distinguished

Southern hip hop as a credible scene amid East Coast and West Coast dominance at the time.

Music journalists regard it as an important release in hip hop and Atlanta’s music scene. Available

on tangelo color vinyl.

Naarm/Melbourne-based artist Now Always Fades returns with Coalesce, the follow-up to his widely acclaimed 2025 album Into The Doldrums. The project of Xavier Bacash, Coalesce sees the musician evolving his modernised approach to downtempo and trip-hop, genres in which he has been heralded as a leading new voice amid their growing popularity. Across the record, NAF's musical and thematic universe expands with the return and addition of a series of new vocal collaborators, speaking to the versatility of a voice as a contextual instrument. In doing so, throughout 'Coalesce', he continues to develop a kind of sonic consistency that focuses on shared emotion above all else. In pursuing those feelings, Now Always Fades finds himself alongside a series of strong and soulful voices: Alia Seror-O'Neill, otherwise known as Alias Error; Lili Hall; and Olive Kimoto, NTS Radio host and singer behind influential 90s band Locust. Throughout the record, each vocalist finds themselves on tracks entirely for them, and in doing so, the NAF project provides everyone involved, and the listener, with something sonically new but emotionally familiar at every turn.

"Cloud Collision" is the first transmission of Open Water and also the debut from it's founder - Berlin DJ and producer OTEE. Born and raised in the city, he has spent a long stretch in and around its club environments and in the studio, absorbing the way techno functions on Berlins dancefloors before committing to a record of his own. In his productions, he likes to build from rhythm first. His techno is hypnotic in the truest sense — drum-driven and loop-led, powered by groove and atmospherics, chasing movement over spectacle but always with an eye on the occasional melodic line. The 5-track EP runs on rhythm and space — hypnotic, loop-led techno built on power, movement and emotion. Five tracks that push from dream to pressure to flight and back to earth, restrained and physical throughout, made for the deep end of the floor.

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

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

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

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

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

After some years of (non)hiatus, Contagious are back with a new album that
furthers the evolution of their uncompromising sound. The album features the high
caliber talents of guests: Valentina Magaletti, Sofia Jernberg and Andrea Belfi.
“Being” is conceived around the different activities pursued by the band since the
release of their first (self-titled) album. Members: Sabine Erklenz, Andrea
Neumann and Mieko Suzuki have been concentrating on performing, composing
and organizing their own event series “Partners in Crime” at Morphine Raum,
Berlin.

This series is an ongoing process of inviting musicians to collaborate, share
and record new material - unrestricted by genre or anything else. It was during
these sessions, “Being" was conceived and recorded. Inspired by the wide range
of lifeforms found in nature, the track titles are once again dedicated to species
that challenge binary notions of sex.

The album conveys the band’s brutal approach to improvised processing - tense
buildups, powerful grooves and delicate release. Contagious’ signature sound
very much suits the wild vocal extensions by Sofia Jernberg, obsessive drum
patterns by Valentina Magaletti and the Moondog-esque, hypnotic percussion of
Andrea Belfi, all of whom offer powerful contributions to a tracks on the LP.

The overall result is a blissful and loving punch in the stomach

Do you know what time it is? It’s Prime Time, the new EP on Punctuality from mischievous French duo Pureblast . Marking the label’s twelfth release, the record serves as a bold statement of intent from the Parisian pair and demonstrates why they’re quickly earning a reputation as one of France’s most exciting live acts.

Across the EP’s five tracks, Pureblast weave together a broad spectrum of influences while remaining deeply rooted in the duo’s singular vision. Every cut is fat, pumping, gritty and playful, ready to turn heads and hips on the dancefloor.

Side-stepping easy genre classifications, Prime Time is modern rolling prog at its most energetic. Tightly wound low-end, pummelling drums and restless basslines drive each track forward with purpose, while sa+ga’s vocals are manipulated and distorted to humanoid perfection. The result is something distinctly personal beneath the machine funk: robotic yet seductive, gritty yet playful.

Deep listeners will spot nods to tranced up breakbeats, Ray of Light-era big beat, Detroit electro and contemporary UK techno with psy-fluenced synth swirls and texture. Far from pastiche, these influences are absorbed into the Pureblast machine and transformed into something entirely their own.

Gritty, pumping, sexy and playful. It’s Pureblast, it’s Prime Time.
credits

Not many can match V.I.V.E.K when it comes to pushing sound system culture.

With over two decades worth of releases, dances and low-end pressure, the Southall-born, System Music label owner announces the imminent arrival of his debut album, ‘The Escape To Nowhere’.

Spanning eight deep and meditative tracks, ‘The Escape To Nowhere’ is a fully realised exploration of dubwise tradition, reimagined through V.I.V.E.K’s unmistakable expert approach and unbound from one specific genre

Drawing from a lifetime immersed in bassweight heritage and club-ready experimentation, the record distils his musical journey into a fully formed and immersive statement, featuring the haunting vocals of Dandelion and Dego Ranking, experimental percussion and a meticulously sculpted low-end design.

‘The Escape To Nowhere’ will mark the 50th release on System Music, a landmark that underscores both the label and artist’s enduring commitment to forward-thinking bass music firmly rooted in culture and craft.

,Bestiaria" ist das neue Album des mexikanischen Trios Karen y los Remedios um Sängerin und Songwriterin Ana Karen G. Barajas. Inspiriert von persönlichen Erfahrungen wie Mutterschaft, Krankheit und Neuanfängen erschafft das Album ein klangliches Universum aus mythischen Frauenfiguren, Göttinnen und Legenden, die für Selbstbestimmung, Stärke und Weiblichkeit stehen. Musikalisch verbindet die Band ihre charakteristische Mischung aus Cumbia rebajada, Trip-Hop und verträumtem Pop mit Einflüssen traditioneller lateinamerikanischer Musik. Die zwölf Songs wirken wie eine Tarot-Legung aus Symbolen, Geschichten und magischen Bildern, die zwischen Sehnsucht, Liebe, Fürsorge und Transformation schweben. Mit seiner atmosphärischen Klangwelt und Ana Karens ätherischem Gesang führt ,Bestiaria" den Weg des gefeierten Vorgängers ,Silencio" konsequent weiter.

The third and final full-length, double album from the Elephant 6 Recording Co. co-founders. Their first record in 27 years from the Athens, GA band. A legend is a heavy thing to carry. It has been 27 years since the last album by The Olivia Tremor Control. In that time, they have influenced countless bands, been the subject of documentaries and biographies, and now, finally, improbably, there is a third Olivia Tremor Control album. In the 1990s, The Olivia Tremor Control released two albums of experimental and psychedelic pop genius, Music from the Unrealized Script: Dusk at Cubist Castle (1996), and Black Foliage: Animation Music Vol. 1 (1999). As founding members of the Elephant 6 collective, they redefined the US underground scene, injecting bright paisley colors and sonic adventure into a scene weighed down by grim irony and a fear of pretension. Work began on the album as far back as 2005 but progress was slowed by other projects, other responsibilities, but in 2010, the band of Hart, Doss, John Fernandes, Pete Erchick, Eric Harris, and Derek Almstead began to record. By 2011 The Olivia Tremor Control had reemerged as a fully active band and added AJ Griffin to the lineup as well as touring members Scott Spillane and Robbie Cucchario. The band was now recording constantly and were fast on their way to completing the album. Then in the summer of 2012, Bill Doss suddenly, tragically passed away. With everyone still in shock and grieving, work on The Same Place came to a halt. Every attempt to resume the project stalled until 2023, when, after watching the Elephant 6 Documentary, Athens producer/musician Jason NeSmith came on board to help. In 2024, with the album nearly finished, Will Hart unexpectedly passed away. Drawing on Will's extensive collections of notes, The Same Place was finally completed by the surviving band members, the broader Elephant 6 community, and producers Derek Almstead, Jason NeSmith, and Ron Kwasman. The Same Place does everything The Olivia Tremor Control ever did well. It also does it better, and goes further, than anyone could have imagined was possible.

Continuing M-Plant's Perpetual Masters series, October sees the vinyl release of Robert Hood's "Red Passion I".

"Red Passion I" was original released in 1999 on his Duet label featuring three tracks of Minimal Techno at its most hypnotic and effective, stripped back to the essentials. It layers taut rhythms, subtle modulation and deep Detroit groove. Hood's mastery lies in making tiny shifts feel monumental, creating sustained tension and movement without excess.

A timeless example of minimalism achieving maximum impact, which is now remastered for 2026 by Thomas P. Heckmann.

For more than two decades, Vidmantas ?epkauskas has occupied a singular position within European underground culture. As the driving force behind Opium Club and gallery 1986 in Vilnius, founder of Ant Bangos, Alfavilnius and OLE festivals, curator, label owner, promoter, DJ and artist, he has spent much of his life creating the conditions for other people's music to be heard.
It makes sense then that he has no shortage of friends and collaborators in play. Across ten tracks, V presents shades of Italo, krautrock, post-punk, minimal synth, industrial pop and neon-noir romanticism, arriving somewhere between the dancefloor and a dream-state. The cast of collaborators both contextualize and help sharpen the vision.
First and foremost, much of the album was crafted alongside Frankfurt's Philipp Lauer, whose friendship with V grew through marathon studio sessions. Curses lends his unmistakable blend of dark romance and theatrical energy to "Is This What You Want?", Australian cosmic journeyman Dreems joins for the kaleidoscopic "Blitz Disc," Domenique Dumont brings their unmistakable emotive touch to "Avventura," while Lithuanian artists Noyus and Ruta MUR, both distinctive voices from the country's queer scene, whose vocals add another dimension to the record's emotional palette. As V puts it, "These are the people I've been vibing with."
That he finally delivers a full-length LP with such elusive qualities is more than a clue to his character. The title itself, a nod to Magritte's famous paradox and his years living in Brussels, suggests that any attempt to define V through a single image is destined to fail. At once playful and philosophical, 12:55 (Ceci n'est pas une V) questions ideas of identity and artistic value while marking the closing chapter of the musical persona that followed ?epkauskas' earlier success as Vidis. Neither retrospective nor statement of intent, it feels like a connected set of reflections spanning a lifetime of influences.

Magnifik is bringing together a selection of some of the label’s biggest records for an ADE 2026 sampler.

The release features label founders Samm and Ajna, alongside Juno (DE), Uvita, Osfur, and Hotlap, showcasing the label’s current sound and key artists.

Breakbeat Paradise Recordings proudly welcomes back one of the undisputed heavyweights of the international funk and breaks scene, Basement Freaks, for another scorching edition of the Toxic Funk series.

The brainchild of Greek producer George Fotiadis, Basement Freaks has spent more than two decades building a worldwide reputation for infectious grooves, heavyweight beats and dancefloor-destroying funk. With releases on labels including Jalapeño Records, Bombastic Jam, Good Groove Records and many more, Basement Freaks has become a staple in DJ sets around the globe and one of the most respected names in modern funk.

Opening the release is Got That Funky Stuff, an irresistible slice of raw party funk packed with chunky breakbeats, killer basslines and soulful samples that are guaranteed to get any crowd moving. Flipping over, Life For Dat Sweet Ting keeps the energy flowing with another irresistible groove, combining vintage funk flavors, rolling drums and signature Basement Freaks swagger into a certified dancefloor weapon.

Whether you're a funk DJ, breakbeat selector or simply a lover of timeless grooves, Toxic Funk Vol. 25 delivers two expertly crafted cuts that showcase why Basement Freaks remains at the very top of the global Nu Funk scene. Another essential 7-inch for collectors and DJs alike, and another dose of pure funk from Breakbeat Paradise Recordings.

Chicago producer and composer Will Miller’s Resavoir has established a strong following at the intersection of jazz, electronic music, and beat-driven production, with more than 9,000 vinyl records sold and 82M+ streams across the project’s first three albums. Resavoir’s 2019 self-titled debut received an 8.2 from Pitchfork alongside broad international critical acclaim, with ongoing support from Gilles Peterson, Lefto, Anthony Valadez, Somewhere Soul, Andrew Jervis and Lovie, plus airplay on BBC 6 Music, KEXP and NPR. Recent recognition includes placements on NPR, KMHD and New Commute’s Best Albums/Songs of 2025, while Resavoir has toured extensively in the UK and Europe and opened for Khruangbin, BADBADNOTGOOD and Kassa Overall.

Above The Clouds finds Resavoir moving further into electronic territory, combining jazz improvisation with dreamy synthesizers, booming drums, smeared samples and electronic instrumentation. Recorded through loose studio sessions with longtime collaborators Lane Beckstrom and Jeremy Cunningham, with contributions from Kenneth Leftridge Jr. and Gregory Uhlmann, the album incorporates wind synthesizers, samplers, guitars, electronic drums and woodwinds into a fluid, groove-oriented sound. The album follows Resavoir’s growing presence across editorial and playlist platforms including Apple Music, Spotify, TIDAL and Delicieuse Musique, with US and EU/UK touring planned for Fall 2026.

Chicago producer and composer Will Miller’s Resavoir has established a strong following at the intersection of jazz, electronic music, and beat-driven production, with more than 9,000 vinyl records sold and 82M+ streams across the project’s first three albums. Resavoir’s 2019 self-titled debut received an 8.2 from Pitchfork alongside broad international critical acclaim, with ongoing support from Gilles Peterson, Lefto, Anthony Valadez, Somewhere Soul, Andrew Jervis and Lovie, plus airplay on BBC 6 Music, KEXP and NPR. Recent recognition includes placements on NPR, KMHD and New Commute’s Best Albums/Songs of 2025, while Resavoir has toured extensively in the UK and Europe and opened for Khruangbin, BADBADNOTGOOD and Kassa Overall.

Above The Clouds finds Resavoir moving further into electronic territory, combining jazz improvisation with dreamy synthesizers, booming drums, smeared samples and electronic instrumentation. Recorded through loose studio sessions with longtime collaborators Lane Beckstrom and Jeremy Cunningham, with contributions from Kenneth Leftridge Jr. and Gregory Uhlmann, the album incorporates wind synthesizers, samplers, guitars, electronic drums and woodwinds into a fluid, groove-oriented sound. The album follows Resavoir’s growing presence across editorial and playlist platforms including Apple Music, Spotify, TIDAL and Delicieuse Musique, with US and EU/UK touring planned for Fall 2026.

“My Love” is one of its key tracks on “Summer End”, the current album by French singer & songwriter Al Sunny. Now that summer really has ended, Al Sunny asked a few producers and DJs from all over France to deliver their interpretation “My Love”. Featuring a wonderful organic take by Ludovic Llorca aka Art of Tones this EP is available digitally and as limited four track 12inch vinyl edition including the Art of Tones, Hugo LX and Jared mixes.

Art of Tones

Art of Tones is the house and disco project of acclaimed French producer Ludovic Llorca. Launched in 2006, the alias quickly earned international recognition through its distinctive combination of soulful musicianship, powerful grooves and dancefloor energy. His catalogue includes releases on respected labels such as 20/20 Vision, Local Talk, Glitterbox, GAMM and Toy Tonics, establishing him as a highly regarded producer and remixer within the global house scene.

Hugo LX

Hugo LX is a Paris-based DJ and producer whose musical universe moves effortlessly between deep and soulful house, downtempo beats, jazz, hip-hop and ambient influences. Known for his refined production style and wide-ranging musical knowledge, he has released music on respected labels including NDATL, MCDE, Balance and People of Earth, alongside projects on his own Doma Music imprint. Both behind the decks and in the studio, his work is defined by warmth, subtlety and a deeply personal approach to electronic music.

Jared

Jared is a French DJ, producer and event curator based in Bordeaux, with a strong connection to house music and club culture. Over the years, he has performed at a wide range of events and international stages, including Tomorrowland, developing a reputation for energetic and carefully constructed DJ sets. His musical approach combines a deep understanding of the dancefloor with warm grooves, contemporary production and an enduring passion for house music.

On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.

This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.



The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.



FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.

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

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

They're Only Chasing Safety is the fourth studio album by American melodic hardcore band Underoath. It was released on June 15, 2004, through Solid State Records. Following the release of their third studio album, The Changing of Times (2002), half of the band's members were replaced. After finalizing the line-up with vocalist Spencer Chamberlain, the band recorded They're Only Chasing Safety with producer James Paul Wisner (Dashboard Confessional, Further Seems Forever, Paramore). In the heavy and punk music scene, the album is considered a watershed moment. The blend of heavy metal and hardcore influences with a strong pop/punk sensibility spawned a new branch of heavy music. The sound eventually became synonymous with the screamo scene of the mid-2000s. The record went gold in 2011.

"ABYSSUS stand as one of the most significant forces within the Greek Death Metal scene, having forged their path since 2011. Drawing profound inspiration from genre-defining pioneers such as DEATH, OBITUARY and BOLT THROWER, the band preserves the unadulterated spirit of old school death metal while imprinting their own distinct identity.

From the very outset, ABYSSUS placed equal emphasis on studio output and live performance. A steady stream of EPs and split releases established their presence within the international Underground metal community. Their debut full-length, „Into the Abyss“ (2015), garnered widespread acclaim and marked a pivotal moment in the band’s evolution - leading to increasingly frequent appearances both in Greece and across Europe, often sharing the stage with renowned acts, like POSSESSED, SINISTER, SUICIDAL ANGELS and ROTTING CHRIST.

With renewed creative vigour and greater maturity, ABYSSUS unveiled their sophomore album „Death Revival“ in 2022 via Transcending Obscurity Records. Adorned with an arresting cover by the legendary Andreas Marschall (KREATOR, BLIND GUARDIAN, IN FLAMES a.o.), the album was met with universal praise, further cementing the band’s reputation for delivering unrelenting, yet masterfully crafted, death metal. More shows with a.o. ASPHYX, TANKARD, GRAVE DIGGER and THE CROWN followed.

Now in 2026, ABYSSUS return with their third full-length opus, “The Reign” - a ferocious testament to their artistic evolution. The album encapsulates all the core elements that have defined death metal through the decades: raw aggression, blistering riff-work, and a suffocating, commanding atmosphere. Once again, the visual narrative is entrusted to Andreas Marschall, whose artwork enhances the band’s sonic vision with striking intensity.

Relentlessly evolving, ABYSSUS remain true to their roots while continuing to push the boundaries of the genre. With a prolific discography and an ever-growing presence on the live circuit, they have rightfully earned their place as a formidable name within the global death metal landscape."

Brussels composer and organist Sander De Keere debuts on Phantom Limb with evocative, elegant new works for solo church organ The Manual Stop, mosaicking patterns of minimalism, IDM, electronic, and sacred music with utmost symbiosis and reverence for the instrument. Recorded entirely on a centuries-old Contius baroque organ at the historic St. Catharina Church in the town of Wondelgem (Ghent, Belgium), The Manual Stop is described by Sander De Keere as “an homage to the organ’s ancient craftsmanship and sonic experiment in itself.” While remaining in keen veneration to the instrument, its heritage, and its spiritual gravitas, De Keere’s works employ the church organ as the centrepiece of a broad compositional superstructure coloured by the influence of many contrasting music.

Grooved throughout, built for dancing, no filler. Pressed in Italy on 140g black vinyl. Solid. Liro back on Bosom LTD with four deep, dubby cuts. Viaje Circular opens loose and circular, percussion looping under a warm bass. Ritmo Atemporal tightens up, minimal touches, hi-hats doing the work. La Pausa on the flip, dub chords, space to breathe. Los Tatas closes heavier, more percussive drive.

The Malian virtuoso, indisputably one of the most creative talents of his country, deserved his solo career decades ago. In May 2026, we released his debut solo album SOBRA DANCE featuring his wife Mariam Kouyate on vocals. The groovy and variated electric album, went straight to the top lists of World Music Charts Europe and Transglobal World Music Chart as well as selected for TOP OF THE WORLD by SONGLINES. Gaoussou's solo debut got several 5 star reviews.DJANGO BLUES is a tribute to Gaoussou's father and childhood teacher, who's nickname is Django. On this album the talented guitarist and composer goes deeper into the roots of Malian Dessert Blues, with the variations from the Arabic soundscapes from the north.In Senegal, Gaoussou is nick named "The new Ali Farka Toure". But even though Ali Farka was one of Gaoussou's greatest inspirations, Gaoussou has developed an unmistakable style of his own. He breathes music and goes to his studio every day to work. He uses his composing to reflect, and as a ventilator when things are hard -they often are in his country of contrasts- and as a love declaration to life itself. He is a true Mandingue, a Griot, peaceful and kind, as the philosophy preaches.Accompanying such legends like Toumani Diabate and Kasse Mady Diabate, Gaoussou Kouyate, with his beloved village 'Sobra' as his middle name, has long proven his level. Yet his name has been relatively undiscovered. The trio performed a memorable concert at Dakar Music Expo, led by their producers, Dudu Saar and Lucy Duran. What started being noticed internationally through this exceptional trio was Gaoussou's composing skills.The electric SOBRA DANCE album was released first, to contrast and give space to the acoustic GUITARI BARO album. Now comes the time for DJANGO BLUES. This great album features Gaoussou's band as well as an exceptional Moroccan Ribab- Amazigh violin master and singer, Aziz Ozouss.

Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more

Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.

Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.

Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.

Duality, the second studio album by American rock band RA, originally released in 2005, captures the group at a moment of creative expansion. Building on the heavy, melodic foundation of their debut From One, the band broadened its sound with richer arrangements, deeper emotional themes, and a more polished production approach.

With Duality, RA refined their blend of alternative rock, hard rock, and atmospheric textures. The album features several fan‑favorite tracks, including “Fallen Angels”, “Sky”, “Tell Me” and “Got Me Going”. One of the album’s standout moments is RA’s cover of “Every Little Thing She Does Is Magic”, originally by The Police and written by Sting.

Duality is available on vinyl for the first time and includes an insert with lyrics.

The first wave of British punk was overrun with smart kids from upper-class backgrounds playacting at being working-class yobs. Sham 69 was different; every bit as thick-headed and provincial as the band sounded, they took a perversely populist pride in its lack of musical or intellectual sophistication, just like The Exploited and Anti-Nowhere League.

Side one of Tell Us The Truth was recorded live, and it perfectly captured the Cockney vibe, complete with football chants and a spontaneous chorus of "Knees Up, Mother Brown." Frontman Jimmy Pursey's banter with the audience is impressive, and all the songs are brimmed with straight-ahead live energy. The studio side is a template for brash UK punk rock: snotty, in-your-face, fast and loud.

Tell Us The Truth is now available on black vinyl.

We are very happy to welcome BOBBY.

He makes his debut with us with Love & Learn, a 3-track EP where romantic and emotional elements meet a more driving, electronic and techno-infused sound.

Warm, hypnotic and full of feeling, the three tracks move between intimacy and the dancefloor, each carrying its own atmosphere while sharing BOBBY.’s distinctive touch.

Soul Ex Machina continues the SEMPLATE series with its third installment, welcoming Sibla for a three-track EP rooted in the foundations of early dubstep and shaped by a strong jazz sensibility. Named after its opening track, "The Seekers" explores spacious arrangements, refined musicianship and carefully sculpted low-end, drawing a natural connection between soundsystem culture and contemporary harmonic language.

"The Seekers" opens the record with rolling jazz-inflected drums, deep dub weight and a dim, immersive atmosphere, unfolding with patience and quiet confidence. "Paper Bags" shifts the mood through harsh textures, subtle dissonance and restrained percussion, building tension without sacrificing space or balance. Closing the release, "Pace" settles into a driving stepper rhythm, where flowing grooves, precise basslines and understated melodies bring the EP to a focused, purposeful finish.

Budapest based concept label Blue Sun arrives with the 3rd edition of their annual VA series, showcasing a colorful taste of the local underground music scene, with some international sidenotes.

Following up on the label’s customs, the 19-track selection is not only released digitally, but also on a limited 200-piece cassette series. Curated by the label heads, the tracks follow Blue Sun's listening-oriented concept without genre restrictions with downtempo, trip-hop, jazz, dub, balearic, ambient, experimental, and electronica as highlights, with pieces that are more difficult to classify.

As before, instead of the usual A-B markings, the two sides are divided by the label's colors: “ORANGE” contains more organic and high-energy music, while “BLUE” contains more pensive and experimental tracks. Moreover, the selection has been carefully curated so that it can be listened to as an endless loop: the end of a side always resonates with the beginning of the other, wherever the listener begins.

The list of contributing artists this year are truly various and just as impressive. From uniqe debuting local artists to internationally recognised performers, it gives a taste of how the Hungarian underground scene sounds like atm. Important to note, that the release marks another debut: the label’s new visual identity by Blue Sun’s new designer, Péter Tóth.

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

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

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

Neue Live-Sammlung der Absolutely Live-Tournee auf farbigem Doppel-Vinyl. - Original-Kuratierung: Von Krieger, Densmore & Botnick zusammengestellt. - Neuer Sound: Frisch gemischt in Stereo & Atmos. - Optischer Kaufreiz: Erstausgabe auf farbigem 2LP-Vinyl.

With Phosphène Island, Pairi Daeza explores a territory at the crossroads of fourth world, jazz fusion, experimental electronics and new age.

Acoustic and electronic instruments merge into a fluid, shifting music, where an apparent lightness finds its way into carefully crafted compositions.

The melodies seem to emerge from an imaginary folklore, born of an inner world, utopian and lush: Phosphène Island.

It brings to mind the borderless landscapes of Jon Hassell, the synthetic elegance of Wally Badarou, or the opening credits of a yet-unmade season of The White Lotus.

Pablo Volt and J.G.G. make dub-folktronica the unpolished way: guitar, horns, drums and synths, recorded loose, drenched in echoes and tape saturation. They met in Barcelona over a shared love of experimental beers and even more experimental sessions, determined to see how far their musical chemistry could take them. "Mordida", their 2023 tape, spent months on repeat at the Pingipung office. Now comes the debut LP: Aqui me quedo. It's a record built on the gap between two childhoods. Pablo Volt (aka Pope, as producer) grew up in Mendoza, Argentina; Jordi Gege aka J.G.G. in a suburb of Barcelona. What they share is a language and a curiosity about each other's memories and musical roots - the studio is where they embrace their different origins in improvisations. A ditch from Pablo's childhood becomes "Zanjon". A mountain Jordi used to roam becomes "Emisora". An ice cream shop, a Sunday market, a football club: small doors into a past the other never lived, but somehow recognises. Aqui me quedo, "I'm staying here", is also the name of the Barcelona bar where they toast after a good session. Two friends, tracing their way back through the past, decide the present is where they'd rather be. Handmade, melodic, unashamed of a smile as they greet from the LP sleeve: this is the spirit in which Pingipung was founded 24 years ago and these two guys, muy simpatico, are living proof of it.

,DOGGOD" ist das 2025 erschienene dritte Album des kalifornischen Trios L.A. Witch und erweitert den bisherigen Garage-Rock- und Psychedelic-Sound der Band um deutliche Post-Punk- und Goth-Rock-Einflüsse. Inspiriert von Bands wie Joy Division, The Cure und Krautrock verbindet das Album treibende Basslinien, atmosphärische Gitarren und dunkle Melodien mit der charakteristisch mystischen Ausstrahlung der Band. Inhaltlich beschäftigt sich ,DOGGOD" mit Liebe, Hingabe, Unterwerfung und Spiritualität. Der Titel spielt mit den Begriffen ,Dog" und ,God" und setzt sich mit bedingungsloser Loyalität, Selbstaufgabe und gesellschaftlichen Rollenbildern auseinander. Zwischen romantischer Sehnsucht, düsterer Vorahnung und hypnotischen Rhythmen präsentieren L.A. Witch ihr bislang vielschichtigstes und ambitioniertestes Album.

Phoenix-based DJ and producer Paul West lands on eudemonia with a stellar 5-track EP, seamlessly picking up right where his impressive debut Blue Sun on Rocky Hill left off.

The record delivers a wonderful blend of breakbeats, house, electro, and Detroit techno, keeping the energy raw, warm, and deeply atmospheric throughout. The A-side builds intensity towards its third track, the spacey title track "Nebulae". Flipping over to the B-side, the journey comes to a close with the playful, melodic tones of „Stardust".

Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.

Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.

Die südafrikanische House-Variante Amapiano geht bei ATFA mit "Teenage Dreams" in die dritte Runde. Nach TENO AFRIKA und DJ BLACK LOW schnappte sich das in New York beheimatete Label das 2019 gegründete Produzenten-Duo NATIVE SOUL, die mit "Teenage Dreams" ihr Debüt geben. Der Titel ist passend gewählt, schließlich sind Kgothatso Tshabalala und Zakhele Mhlanga (DJ Zakes) mit 19 bzw. 18 Jahren sozusagen selbst gerade erst den Kinderschuhen entwachsen. Obwohl die beiden in Pretoria aufgewachsenen Jungproduzenten zur Generation 'Ma2000' gehören, also nach Beginn der Demokratie geboren wurden und die Apartheid nie erlebt haben, überzeugt "Teenage Dreams" mit einer künstlerische Reife, die das jeweilige Alter der beiden Soundtüftler weit übersteigt. Die zwölf Tracks auf dem Debüt sind überwiegend moody, instrumental und mit Drums "made from basslines which stick out like a pocket turned outside of pants" versehen. Für Fans von BURIAL und MR. FINGERS!

Italian percussionist Umberto Vitiello takes us on a journey into a vanished world. Mixed by Italian techno master Donato Dozzy, the album draws on memories spanning decades, including Vitiello's years living on Yarakh Beach on the outskirts of Dakar, Senegal. There, the rhythms of daily life flowed with the tides: fishermen launching their pirogues at dawn, griots and vendors gathering beneath three towering palm trees, and the Atlantic Ocean providing a serene soundtrack.

Named after the Lébou people whose fishing culture has shaped the coastline around Dakar for centuries, the record is both a tribute to a community that welcomed Vitiello as one of their own and a reflection on what has been lost.

Those years left a profound mark on both his life and his music. Yet this is not simply a work of remembrance. It is also a meditation on change.

Today, the beach that inspired these recordings has been transformed by pollution and environmental decline. Where fishing boats and palm trees once stood, a sculpture by Senegalese artist Serigne Gorgui Mbaye now depicts two giant ears facing the sea-a reminder of the need to listen: to one another, to nature, and to our own conscience.

Blending percussion, atmosphere and storytelling, the album revisits formative experiences from the 1980s through the perspective of the present day. Featuring vocal contributions from Olympia Ndiaye, Anna Caragnano and Mariangela Morais, and guided by Dozzy's spacious, immersive mix, it unfolds as a deeply personal journey through memory, place and transformation.

UK experimental multi-instrumentalist Oli Heffernan (aka Ivan The Tolerable) returns to independent label Riot Season Records on October 23rd, 2026, with The Planets, a fierce, tension-fuelled reinterpretation of Gustav Holst’s iconic orchestral suite tailored for the modern age.
Originally composed over a century ago to capture the astrological characters of the cosmos, Holst's masterpiece receives a radical, uneasy update. Where the original composition leaned on grand symphonic sweeps, Ivan The Tolerable strips away the comfort of the orchestra, replacing it with fracturing analog synthesisers, claustrophobic tape loops, and the hypnotic, nervous pulse of modern kosmische music and avant-garde noise.
The Planets is an album forged in the specific dread of 2026—a year defined by geopolitical instability, climate weariness, and pervasive societal tension. Rather than looking up at the stars in awe, Heffernan turns the telescope back toward a fractured Earth. From the staggering, industrial-tinged dread of "Mars" to a hollow, melancholic take on "Jupiter," the album transforms familiar motifs into an immersive exploration of collective psychological fatigue.
Recorded in isolation by Heffernan, the project captures the signature solo vulnerability seen on his recent landmark releases like Psychogeography. It balances moments of deep, meditative stillness with sudden, jarring eruptions of noise, offering listeners a space to both confront and process the overwhelming static of the everyday world.

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

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

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

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

Notes from Linda:

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“Like Croydon by way of Havana”

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

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

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

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

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

Light Touches Records is devoted to shed new lights on hot rarities, unknown grooves as well as forgotten classics.

As the attention to the older volume is rising, Light Touches camp pushes things further with four uncompromising tunes.
On A side, “Do It This Way” is an intense lost disco roller with oniric string machine and thundering bass, while “It’s True” goes deeper with a relentless Philly groove with psychedelic tones. On the flipside, “Jus’ta Funky Jam” opens things up with some killer groovy arrangement, and “Dance With You” closes the release with a dreamy, mellow jazzfunk tune.

All tracks have been carefully edited without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors!

12” limited to 300 copies (no digital).

As part of the 20 Years of BM anniversary celebrations, Bondage-Music proudly presents Bondage Games Pt. 11 — a special five-part vinyl series. Each release is named after a constellation, together forming a unique tribute to two decades of Bondage-Music.
With Bondage Games Pt. 11, the label's iconic vinyl series returns in its most ambitious edition to date. Created to celebrate 20 years of Bondage-Music, the series unfolds across five constellation-themed releases, each featuring four exclusive productions from artists closely connected to the label.
The first chapter, Ursus, brings together four exclusive tracks from Roger Gerressen, Sascha Dive, Rhadow and Lola Palmer. From Roger Gerressen's hypnotic groove-driven Patterned Shards and Sascha Dive's unmistakable deep house craftsmanship on Dub Chronicles #10 to Rhadow's atmospheric Ripples and Lola Palmer's warm and emotional Slow Down, the record perfectly reflects the timeless musical identity that has defined Bondage-Music since day one — deep, soulful, groove-focused and made for both intimate listening and late-night dancefloors.
Pressed on heavyweight 180g vinyl and housed in an individually printed sleeve, Ursus continues Bondage-Music's longstanding commitment to exceptional quality in both music and design. The artwork was created by BM's longtime Head of Artwork, Pete Bombart — a close friend and an integral part of the label since its earliest days. His unmistakable visual language has become inseparable from the Bondage-Music identity, earning a loyal following far beyond the music itself.
Whether collected as part of the complete anniversary series or enjoyed on its own, Bondage Games Pt. 11: Ursus is a celebration of the artists, the friendships and the unmistakable sound that have shaped Bondage-Music over the past twenty years.

As part of the 20 Years of BM anniversary celebrations, Bondage-Music proudly presents Bondage Games Pt. 11 — a special five-part vinyl series. Each release is named after a constellation, together forming a unique tribute to two decades of Bondage-Music.
With Bondage Games Pt. 11, the label's iconic vinyl series returns in its most ambitious edition to date. Created to celebrate 20 years of Bondage-Music, the series unfolds across five constellation-themed releases, each featuring four exclusive productions from artists closely connected to the label.
The first chapter, Ursus, brings together four exclusive tracks from Roger Gerressen, Sascha Dive, Rhadow and Lola Palmer. From Roger Gerressen's hypnotic groove-driven Patterned Shards and Sascha Dive's unmistakable deep house craftsmanship on Dub Chronicles #10 to Rhadow's atmospheric Ripples and Lola Palmer's warm and emotional Slow Down, the record perfectly reflects the timeless musical identity that has defined Bondage-Music since day one — deep, soulful, groove-focused and made for both intimate listening and late-night dancefloors.
Pressed on heavyweight 180g vinyl and housed in an individually printed sleeve, Ursus continues Bondage-Music's longstanding commitment to exceptional quality in both music and design. The artwork was created by BM's longtime Head of Artwork, Pete Bombart — a close friend and an integral part of the label since its earliest days. His unmistakable visual language has become inseparable from the Bondage-Music identity, earning a loyal following far beyond the music itself.
Whether collected as part of the complete anniversary series or enjoyed on its own, Bondage Games Pt. 11: Ursus is a celebration of the artists, the friendships and the unmistakable sound that have shaped Bondage-Music over the past twenty years.

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

If it's extreme, leave it to us. Challenging the sound, playing with the sound, laughing at the sound. A docking of debut recordings from the most talked-about street artists and "sound collages & sound gags" by pro musicians with eccentric ideas. An exciting, bold, and humorous "bright" New Wave omnibus album. Featuring artists like: Kaoru Sato (EP-4), Masumi Hara & BANANA, Shingo Tomoda, Chinju, Mammy, MUZEUM, and more.

Joanne Shaw Taylor’s music career began at 16 when Dave Stewart of The Eurythmics discovered her fierce guitar playing and invited her on tour.

Still only in her 30s, she has become one of the most sought-after guitarists in the world of rock.

Over the past two decades, Joanne Shaw Taylor has proven herself as a prolific songwriter, releasing several acclaimed albums. It has been

her increasingly successful releases that have cemented her role as a British blues rock export.

Joanne Shaw Taylor is back with a brand new studio album. She continues to thrive within the modern blues world while adventurously exploring

new genres to thrilling results on ‘The Trouble With Love’ album.

Taylor once again partnered with trusted legendary producer Kevin Shirley (Black Crowes, Journey, Aerosmith, Iron Maiden, Joe Bonamassa) to craft

this bold statement of an album that is sure to please longtime fans and lure in new ones with its fusion of blues, rock, retro pop, Americana and

more.

Dusty Rose coloured 180g vinyl.