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Mancunian singer-songwriter Lusaint releases her brand-new LP ‘The Apothecary’, featuring the standout lead single, ‘Lie To Yourself’, and soulful, jazz-infused track ‘Summertime’.

When the first JIM album Love Makes Magic was released in 2023, it was the end product of an experiment that had begun during the strange days of the pandemic. Cooped up in his studio, James Baron started fiddling about with an as-yet unnamed new album idea. It became Vicious Charm’s first LP release. Labelled variously as Balearic, folktronica, blue-eyed soul and Laurel Canyon, Love Makes Magic was perhaps all and none of those things: a record rooted less in Californian mythology than in Baron’s own musical world, somewhere between Sherwood, Nottingham, classic songwriting, electronic soul and the no-nonsense good times that have long run through his work under his other monikers (principally the anagrammatic Ron Basejam and, of course, Crazy P) One thing was indisputable, it connected with people... and still does.

The album was a minor hit, appearing in many a Best of 2023 chart and voted Album of the Year in Bill Brewster’s Furtive 50. A tour and a few memorable festival appearances – his 2024 We Out Here Festival being one of those wonderfully timed ‘moments’ - perfectly captured the horizontal vibes on the album, while injecting some live energy into its delivery. While there was a follow-up remix album for Love Makes Magic, JIM was already preparing a sophomore LP: “I wrote the majority of The Curious Case Of Existence in a couple of months at the beginning of 2024, then it was just a case of making the record over the next couple of years in between everything else.”

Brooklyn-based producer and lathe-cut specialist P-Sol returns to his own imprint (as he does on an impressively frequent basis, frankly) with another irresistible double-sided 7". Both tunes continue to carve out his own soulful, sample-driven corner of hip-hop and r&b, starting with 'A Little Personal' with its elegant strings and classic boom-bap era drums topped with a silky smooth and loved-up vocal. The B-side, 'Pete's Soul' is a fitting tribute and nod to make great from this world and bumps gently but with a catchy vocal edge. Another heady crate-digger's delight from a man whose purple patch continues.

Not many weeks go by without Patrick Sullivan aka P-Sol aka the New York City-based edit king dropping another tidy 7". He collides more classics from the r&b and hip-hop golden eras here, starting with 'Heard It All Before', which keeps the original, soulful and empowering vocal and reworks it into a slow, dubby, gentle broken bump. On the flip, 'Undone Wreck' is a classic early rap joint here reworked as a funky, jazzy fusion sound with smooth rolling bass and lush brass. The bars are storytelling and the effect is utterly seductive.

We are so excited to welcome back Tigerskin with a brand-new Album. This 12” is the vinyl version
showcasing six deep, euphoric and banging tracks taken from the full album.

The digital album features twelve brand new tunes by Alex Krüger and delivers his 3rd studio album as Tigerskin.
“Image” not only continues his search for the ultimate dance floor deepness, and contrary to just imitating his own “best selling” club grooves, it rather displays his ongoing artistic progress as a producer and composer of electronic music.

Opposed to his 2013 album “All Those Goodbyes”, which musically rooted in the early 90s and included a ton of collaborations with friends and long time partners, “Image” focuses more on Alex’s general musical roots and shows his compositional preferences. Apart from a few samples, this time around it doesn’t feature any co-productions at all nor did Alex use crazy or special gear to create the tunes. Many sounds are coming from natural and acoustic sources. Expect 80s New Wave references or spooky Wagner-esque bits to pop up next to dusty downbeat interludes. Euphoria next to relaxation. Tigerskin’s journey leads him from ironic comments on the present times via deep, occasionally melancholic or dark and hypnotic material up to the final tune, a homage to the infamous German brothers, Thomas and Klaus.

Tigerskin’s love for experimentation and cross-genre diversity on “Images” is more tangible than ever before.

Dive into this great deep journey, Enjoy!

Over the last decade, Medlar has carved out a unique corner of the underground with releases on labels including Delusions of Grandeur, Wolf Music, Razor n Tape and Make A Dance, developing a sound that effortlessly bridges deep house, leftfield disco, broken rhythms, and jazz-infused electronics. Here he is with a brand-new Celestial Bodies EP on Delusions of Grandeur, deep, warm, Balearic sounds for the soul!

Berlin-based edit specialist Voodoocuts knows exactly how to tease out the best bits of any of the source tunes he works with. He's been doing it for years now on labels like Juice on Wax and Uluru, and now heads to Ritmo for his latest 7" bomb. 'Riddim Freak' gets this one going with a reggaeton rework of a Missy Elliott classic. It's an inspired pairing that has elastic bass and trampoline-like kicks with rave horns, fat-assed brass band energy and plenty of that original Missy attitude. 'Work This' takes another of the rap queens' most welcome jams and flips and reverses it into an early electro and hip-hop blend with old school drums and many magnificent samples all bringing it to life in full colour.

Mit ihren ersten beiden Alben verwandelten Dream Unending die vertraute Architektur des Death Doom in einen eigenen Ort. Eine Sprache, in der tiefste Schwere mit Progressive Rock, Ambient-Musik, jazzinspirierter Improvisation und unverblümter emotionaler Offenheit koexistieren konnte.
Auf dem neuen Album 'Certain Uncertainties' bleibt dieser Ausdruck intakt, doch der Blick hat sich verändert. Wo frühere Werke oft nach oben und außen zu greifen schienen, kehrt dieses auf die Erde zurück: schlanker im Aufbau, rauere Kanten und von einer ausgeprägt nächtlichen Atmosphäre geprägt. Man könnte es vielleicht 'Adult Contemporary Doom' nennen; Musik von erheblichem Gewicht, die dennoch gelernt hat, wie viel gesagt werden kann, indem man bestimmte Dinge ungesagt lässt.

Aufgenommen mit weniger Schichten und einem bewusst unmittelbaren instrumentalen Ansatz, gibt 'Certain Uncertainties' den einzelnen Darbietungen Raum zum Atmen. Derrick Vellas Gitarren bewegen sich mit ungewohnter Freiheit durch Blues-, Jazz- und Progressive-Vokabular und tragen zuweilen den offen geführten Charakter amerikanischer Roots-Musik in Gefilde, die man im Doom selten antrifft. Justin DeTores Schlagzeug ist durchgehend präsent, verleiht dem Album eine physischere Dynamik und hilft den Kompositionen, ihre Ziele mit größerer Sparsamkeit zu erreichen. Dennoch hat die Prägnanz die Vorliebe von Dream Unending für Entladung nicht geschmälert: Insbesondere das Eröffnungs- und das Schlussstück steuern auf enorme Druckpunkte zu, während die Zwischenräume Vellas Spiel zum Wandern, Reagieren und gelegentlichen Unvollkommenheiten einladen. Jeder Song funktioniert als eigene Vignette – teils Wüsten-Träumerei, teils After-Hours-Noir – durchzogen von Spuren westlicher Landschaften, dämmrigen Räumen und leeren Straßen.

Diese erdgebundene Qualität passt zu einem Album, das sich im Kern mit Instabilität und Wiederaufbau beschäftigt. Entstanden in einer Phase, in der Vella sein eigenes Vertrauen ins Risikoeingehen neu aufbaute, trägt 'Certain Uncertainties' Zweifel in sich, ohne der Verzweiflung zu verfallen. Die versehrte Balladenhaftigkeit von 'I Carry Your Burden' (mit Gastgesang von Brendan Radigan), die improvisatorische Offenheit des Titeltracks und die hässlicheren Ausbrüche des Death Doom gehören alle zum selben emotionalen Terrain: Schönheit und Unbehagen dürfen denselben Rahmen einnehmen. Wenn das frühere Werk von Dream Unending eine andere Welt jenseits der Grenzen schwerer Musik imaginierte, findet 'Certain Uncertainties' etwas ebenso Seltsames in der Welt unter unseren Füßen. Ein Album voller trockener Luft, langer Schatten, ungelöster Fragen und dem sturen Impuls, sich weiter durch sie hindurchzubewegen.

The seminal psych-rock classic The Evil One by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.

Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.

Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.

The Evil One has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers The Evil One to be his favourite album that he ever recorded. He really loves that album.”

Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.

More than a standalone reissue, this deluxe edition of The Evil One opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with Gremlins Have Pictures and Don’t Slander Me to follow in 2027.

The seminal psych-rock classic The Evil One by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.

Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.

Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.

The Evil One has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers The Evil One to be his favourite album that he ever recorded. He really loves that album.”

Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.

More than a standalone reissue, this deluxe edition of The Evil One opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with Gremlins Have Pictures and Don’t Slander Me to follow in 2027.

Hell is empty and the salsa is all there is.

Chúpame el Dedo are BACK! After years of terrorizing the avant-tropical underground with their manic, mock-satanic metal-cumbia madness, the legendary Bogotano duo of Eblis Álvarez and Pedro Ojeda have officially scrubbed the pentagrams off the drum kit. They aren’t worshipping the dark lord anymore; they’ ve found a much more chaotic deity. Please lower your expectations and raise your instruments: Chúpame el Dedo are now officially Geobah Witnesses.

Forget everything you thought you knew. This new record is a high-octane salsa-altín exorcism. It’s not your abuela’s dance music; it’s a fever dream—like Waka Waka played at double speed through a frying mixing desk that’s caught fire mid-verse.

The Chúpame delirium remains terminal. We’re talking classic, hard-swinging Caribbean breaks that trip over jagged psych-synth riffs, all tied to those signature “broken” vocals—jumping from gutter-low growls to manic, helium-choked chirps. It’s twitchy, heavy, and lyrically, the most blasphemous shit they’ve ever committed to tape. It’s a holy, nonsensical collision that’ll leave you wondering if you’ve been saved or just brainwashed.

Put down the pitchforks, pick up a maraca, and surrender to the frequency. Geobah is watching.

Celebrate the incredible music from the first half of the 70s with this brand-new 2LP collection packed with the era’s most iconic hits.

LP1 kicks off with Queen’s ‘Killer Queen’, followed by Elton John’s timeless ‘Goodbye Yellow Brick Road’ and Mott The Hoople’s anthemic ‘All The Young Dudes’. Glam-rock favourites from Sweet, Mud and Wizzard sit alongside Pilot’s feel-good ‘Magic’ and David Essex’s distinctive ‘Rock On’. Side Two turns up the guitars with Rod Stewart’s ‘You Wear It Well’, Free’s legendary ‘All Right Now’ and Bachman-Turner Overdrive’s ‘You Ain’t Seen Nothin’ Yet’. Alice Cooper’s rebellious ‘School’s Out’, Status Quo’s ‘Down Down’ and Thin Lizzy’s ‘Whisky In The Jar’ continue an incredible run of rock classics before Bob Dylan closes the LP with ‘Knockin’ On Heaven’s Door’.

LP2 opens with Paul McCartney & Wings’ epic ‘Band On The Run’, before Simon & Garfunkel’s ‘Bridge Over Troubled Water’ and Billy Joel’s ‘Piano Man’ showcase some of the decade’s finest songwriting. Harry Nilsson’s unforgettable ‘Without You’ and Terry Jacks’ ‘Seasons In The Sun’ lead into soulful classics from Harold Melvin & The Blue Notes and The Stylistics. Side Two opens with Neil Diamond’s enduring ‘Sweet Caroline’ and Carly Simon’s ‘You’re So Vain’, before Diana Ross’ ‘Ain’t No Mountain High Enough’ and Stevie Wonder’s ‘Signed, Sealed, Delivered I’m Yours’ launch an irresistible run of soul and dancefloor favourites. Barry White’s ‘You’re The First, The Last, My Everything’, George McCrae’s ‘Rock Your Baby’ and The Three Degrees’ ‘When Will I See You Again?’ lead into Michael Jackson’s beautiful ‘Ben’, bringing this celebration of 1970–1974 to a memorable close.

The Human League is renowned for their contribution to the synth-pop genre. Originating from the experimental electronic music scene, they achieved notable success as a pop band during the 1980s. The band's lineup has undergone changes throughout the years, but Philip Oakey, Joanne Catherall, and Susan Ann Sulley have remained core members.

This limited edition BLUE vinyl release captures their performance at The Dome in Brighton on December 19, 2003. It includes their iconic hits such as "Don't You Want Me," "Human," "Mirror Man," and "Fascination." The album showcases their talent for crafting catchy melodies, employing innovative synthesizer techniques, and featuring distinct vocals.

With their memorable songs and unique musical style, The Human League truly made their mark on the Synth-pop genre.

Reissue. "The beauty of Acid Roulette - and about Scorpion Child in general - is the steely dedication to all that is rock. You don't sound like this unless you've been swimming in a sea of ancient vinyl your whole life." - Louder Sound

Reissue. Orange transparent vinyl, limited to 300 copies. "The beauty of Acid Roulette - and about Scorpion Child in general - is the steely dedication to all that is rock. You don't sound like this unless you've been swimming in a sea of ancient vinyl your whole life." - Louder Sound

Musique Pour La Danse presents a raw, euphoric, and totally essential document of British rave history. LIVE IN MANCHESTER captures like nothing else the pure energy and essence of an era.

Featuring the unstoppable duo Mark Franklin and Nigel Champion, and vocalist Saffron, this legendary 1992 live set delivers iconic tracks like "Anthem", "Adrenaline", and "Malfunction" in their most ecstatic form and many exclusive tracks.
Often copied and sampled, never surpassed, because it simply can't be. If you're only owning one rave record, this is the one.

Includes liner notes by Matt Anniss, re-designed in Büro Destruct with an historical collectible flyers poster 12"x36", with the help of Phatmedia.
Newly mastered and cut at Transition Studios for maximum impact. Simply the best thing for your warehouse soundsystem.

Listen to the full recording

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

CPEN is the alias of Chris Penny and his 'Pirates Life' EP on Seasons Recordings back in the 2000s is one of our all-time favourites. It was used on Craig Richards's fabric mix and still sounds original more than a quarter of a century on as the man behind it has gone on to work with Luke Solomon and Honey Dijon on a Grammy-winning album. It's the title cut that does it for us with the way the groove is so languid and loose as it hangs just above the floor and deep space sounds colour the airwaves. 'Song Of The Muse' is a beautiful synth scape stripped of rhythm and 'Liquid Steps' has a little more bite but still roll on nice soft kicks with life-affirming keys up top. 'Third Quarter' is a majestic post-club comedown with all of CPEN's signature synth sounds and even some brassy smears, making it an utter downtempo delight.

„Future Quiet“ markiert ein neues, bemerkenswertes Kapitel für einen der einflussreichsten und visionärsten
Künstler der elektronischen Musik. Auf vierzehn Tracks, die modernen Klavierminimalismus, immersive
Ambient-Klanglandschaften und einige Gesangskollaborationen umfassen, reflektiert Moby die Spannung
zwischen dem hypervernetzten modernen Leben und dem tiefen menschlichen Bedürfnis nach Stille.

10th Anniversary Edition. Forest Shadow Vinyl. Spricht man MITSKI MIYAWAKI auf Glück an, warnt sie nur: ,Glück fickt dich." Diese Lektion findet sich seit Jahren im düsteren Outsiderindiesound der New Yorkerin, doch wurde noch nie so kraftvoll umgesetzt wie auf ihrem neuesten Album ,Puberty 2". ,Glück ist oben, Traurigkeit ist unten, aber das eine ist fast noch destruktiver als das andere", sagt sie. ,Wenn du feststellst, dass du das eine nicht ohne das andere haben kannst, ist es möglich, Glücksphasen damit zu verbringen, auf die Gegenwelle zu warten." Auf ,Puberty 2" ist diese Spannung spürbar: ein sowohl schönes als auch brutal romantisches Hinterland, in dem eine der neuen Stimmen Amerikas einen mutigen neuen Weg begeht.

Chilean label Soundrive hits double figures with an EP that is as tasteful for house heads as all the other have been. Four serious names step up for this one, starting with Nottingham's DIY man Nail. His 'In The Sky' has all his usual hallmarks - heft to the groove and rawness to the drums, but also an emotional pull that cuts through from the woozy sax notes. Sakro stacks up his kicks into driving, nicely pressured loops on 'Deep In The Street' and runs them through with some thoughtful pad work and Texan Brett Johnson brings his usual off-beat tech house trippiness to 'Beautiful Smurf'. Gari Romalis shuts down with a warm, enveloping dub classic in the form of 'I'm Ya Dancer' complete with smoky vocals and wispy pads that are primed for dead of the night sessions.

Tenampa now turns to French sonic storyteller YokoO, who makes his debut on the Mexican imprint with a three-track workout that perfectly captures his signature sound: deep, refined and effortlessly effective.
Rich in groove, subtle textures and immersive atmospheres, the release unfolds with the unmistakable sense of depth and emotional detail that has become synonymous with YokoO’s productions.
Strictly limited to 300 copies worldwide and available exclusively on vinyl, this release further cements its status as a true collector’s piece.
The artwork once again comes courtesy of the ever-outstanding Manuel Cetina, aka El_Stitch, whose distinctive visual language adds another layer of identity and lasting value to the release, securing its place in any serious record collection.

In January 2016, a 21-year-old Jacquees confidently stepped into the spotlight and officially shifted the climate of modern R&B. Released as a mixtape hosted by DJ Spinz, Mood wasn't just a collection of songs—it was a bold sonic manifesto. Merging classic, unbridled Southern R&B vocals with the heavy, localized bounce of Atlanta’s dominant trap scene, the project gave a generation of fans their definitive late-night soundtrack. Now, a decade after its initial release, the foundational classic is finally making its official debut on all major streaming services, as well as arriving on CD and vinyl for the very first time.

Produced primarily by Nash B, Mood captured an artist on the precipice of superstardom. Backed by executive support from Birdman and the Cash Money Records family, the project features a powerhouse lineup of mid-2010s royalty, including standout guest verses from Kevin Gates, DeJ Loaf, Rich Homie Quan, Kirko Bangz, and Young Scooter.

For years, Mood lived in the digital underground of mixtape websites and YouTube rips, passed around by R&B purists like a treasured secret. Whether you're streaming it on the go, spinning the rich analog grooves of the vinyl, or popping the CD into your car, this release honors the timeless body of work that cemented Jacquees as the King of R&B.

Introducing Relik.

A new sub-division from Earth Dog Records, reissuing overlooked gems from the North American underground

The ‘90s to early 2000s saw US dance music experience a uniquely innovative gold rush. Records from that period narrate a burgeoning rave-obsessed sub culture, experimenting with the psychedelic sounds of tech house and progressive, with further flirtations with trance, breaks and beyond.

Many of those era’s artefacts have been increasingly difficult to find, and even rarer to hear out in the contexts they were constructed for. Relik exists as a means to preserve the legacy of this formative era, honouring the artists and labels that helped shape an ethos and sound unique to North America, and pivotal to the Earth Dog vision, while exposing this music to a new generation of listeners.

Each reissue will be released with permission and in collaboration with the original artists.

R001: The Vortex Archives

Volume one shines a light on Gainesville’s legendary Vortex Records.
Founded in 1996 by Boyd Westerman and Kyle Hogan, lifelong underground innovators (with Boyd remaining the undisputed king of the Discogs comment section). Vortex was home to a catalog of sounds that helped define a unique tech house and progressive flavoured corner of the North American underground.

Vortex Archives compiles four of our favourite cuts from the label’s discography, that for our money showcases their unmistakable sound best; a seamless fusion of progressive house, tech house, trance and breaks.

Nearly three decades on, these tracks (and the label from where they came) are as timeless and prescient than ever. We’re honored to certify their legacy by bringing them back into circulation.

A huge thank you to Boyd for trusting us with this release and helping to bring a sample of the Vortex catalog back into the world.

Endless respect to all the OGs who archived their catalogues, continued to make incredible music and subsequently paved the way for future generations. We wouldn’t be here without you.

Vier Jahre brodelte es im Berliner Untergrund: Nach zwei DIY-Tape-Releases durchbrechen SEK die Flanke und präsentieren mit Wallensteins Garage ihr erstes Album auf Vinyl ein Debüt, das gleichermaßen Geschichtserzählung, Konzeptalbum und ausufernde Jam-Session ist. SEK benannt nach den Anfangsbuchstaben der Nachnamen ihrer Mitglieder - Paul-Willy Stoyan (Gavial, Jacke Schwarz), Georg Edert (Elder, Gaffa Ghandi) und Lucas Kazzer (Gaffa Ghandi, Borders Down) - vereint drei Musiker, die seit Jahren in der Berliner Underground-Szene aktiv sind. Ihre gemeinsame Sprache findet sich zwischen Improvisation, historischer Erzählung und druckvollem Rock. Was die drei verbindet, ist weniger ein gemeinsamer Stil als die Lust am Ausprobieren: ausufernde Proben, lange Improvisationen und die Suche nach Klanglandschaften, die ebenso sperrig wie eingängig sein können. Was 2022 während des pandemiebedingten Lockdowns mit stundenlangen Jams begann, entwickelte sich in den vergangenen vier Jahren zu einer eigenwilligen Mischung aus Psychedelic Rock, Krautrock und einer Prise Prog. Die Band selbst nennt diesen Sound augenzwinkernd HOR Historian Oriented Rock: Musik, die historische Stoffe nicht illustriert, sondern in Klang übersetzt. Die Inspiration für die Songs stammt aus dem Dreißigjährigen Krieg (16181648), insbesondere aus dem Leben des böhmischen Feldherrn Albrecht Wenzel Eusebius von Wallenstein und den Ereignissen rund um die Schlacht bei Lützen (1632). Das musikalische Arsenal ist ebenso vielseitig wie die erzählte Geschichte: verfuzzte Gitarren mit wabernden Delays treffen auf einen galoppierenden Bass und treibende Drums, getragen von träumerischen Keyboards. Immer wieder öffnen sich freie, fast chaotische Passagen, in denen Harmonie und Rhythmus auseinanderbrechen wie Schlachtordnungen, die im brutalen Nahkampf ihre Form verlieren. An anderer Stelle schaffen sanfte Mandolinenklänge Momente der Ruhe, bevor sie sich in schwere, schmerzvolle Trauermusik verwandeln, inspiriert von Doom und Drone Metal. Zwischen hypnotischen Grooves, improvisatorischer Freiheit und cineastischer Dramaturgie erschaffen SEK einen Sound, der Vergangenheit nicht nachstellt, sondern neu erfahrbar macht. Die Platte erscheint auf Exile On Mainstream als schwarzes Vinyl mit beigelegter CD. Genre: Krautrock, Psychedelic, Alternative Für Fans von: Elder, Gentle Giant, Amon Düül, Zahn.

2026 Repress

It’s Italian time! Sam Ruffillo is back. Sicilian producer doing smooth Balearic disco with Italian vocals. The direction is clear: Sam Ruffillo's music brings us back into the Italian riviera and the hippy days of Ibiza in the late 1970ies. Even his way of production is similar to how the early days disco producers in Italia used to work: No samples needed. Instead a few guest musicians come to jam over Sam's beats in his Italian studio space. Guitar, bass, percussions. Sam later makes the production and added keyboard solos and put together the vibes into what is this new EP.

The girl voice comes from NINFA. It’s the classic studio story: Ninfa is a singer and DJ and friend of Sam. She was hanging at the studio while Sam was finishing these tracks. She stated to sing along... the words came up spontaneously… so they decided to record her and finally decided to keep them. The vibe was too good. Why talk English if u can do it better: in Italian! :)

This is second for Toy Tonics after his Sport House EP from last year. Sam also appeared on the solo record of Joel Holmes on Toy Tonics. Together with Kapote Modica he co-produced and made the beats on that record. Now Sam is back with this pure Italian EP. Inclusive remixes by new German artists Gome and Italian Musemeci - known to many from his fabulous Italo-trance releases on Diynamic records.

La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.

,Yaphet" ist das neue Album des Rappers Curly Castro - auch bekannt als eine Hälfte des dynamischen Duos Shrapknel - das am 18. September 2026 bei Backwoodz Studioz erscheint. Auf ,Yaphet" lässt sich Castro vom Blaxploitation-Filmgenre der 1970er Jahre inspirieren; die schwarzen Helden und Antihelden jener Zeit dient ihm als Sprungbrett für seine filmische Lyrik. Die Flows wechseln so mühelos wie Kamerawinkel, die Strophen sind gespickt mit Anspielungen und Zweideutigkeiten - eine Rap-Meisterklasse, die man endlos wiederholen kann. Aber ,Yaphet" ist auch Castros erstes Soloalbum seit ,Little Robert Hutton" aus dem Jahr 2021, und hinter dem Feuerwerk spiegelt dieses Album die Tiefe seiner Erfahrungen in den dazwischenliegenden Jahren wider. ,Ich hatte nicht vor, so ehrlich über mein Leben zu sein, aber genau das ist dabei herausgekommen, und das Album ist dadurch besser geworden", erklärt Castro, ,vom Tod meiner kleinen Tochter über den Tod meines Vaters bis hin zur Konfrontation mit meiner eigenen bevorstehenden Sterblichkeit - das sind meine verwundbarsten Klingen, die meine tiefsten Wunden aufreißen." Genau wie Castro marschiert auch diese Platte im Takt ihrer eigenen Trommel, und täuscht euch nicht: Es gibt jede Menge Trommeln, mit denen sich der erfahrene MC messen kann, wie nur er es kann. Komplett produziert vom Milwaukeeer Beatmaker Locust, ist ,Yaphet" ein schwungvolles, vielseitiges Hörerlebnis, das seinen Einflüssen zunickt, ohne jemals zurückzuschauen. Castro wird von einem Wirbelwind der Besten des Genres begleitet: billy woods, PremRock, Fatboi Sharif, Brian Ennals, SKECH185, Blueprint, AJ Suede, shemar, ALASKA, Sunmundi, blackchai und Margel the Sophant.

a 1.1BLACK DON'T CRACK [FT. FATBOI SHARIF, BLUEPRINT, BRIAN ENNALS, SKECH185, ...]


[d] 1.4ENEMY-MINDED [FT. MARGEL THE SOPHANT]

[f] 1.6RAILROAD SPIKES [FT. MARGEL THE SOPHANT]
[g] 1.7BLOOD IN THE GARDEN [FT. PREMROCK]

[i] 1.9THE DELECTABLE NEGRO [FT. MARGEL THE SOPHANT]
[j] 1.10RINZLER WRECK [FT. ALASKA]

[l] 1.12NEW MUTANTS [FT. SHEMAR, BLACKCHAI, & SUNMUNDI]

[a] 1.1BLACK DON'T CRACK [FT. FATBOI SHARIF, BLUEPRINT, BRIAN ENNALS, SKECH185, ...]


[d] 1.4ENEMY-MINDED [FT. MARGEL THE SOPHANT]

[f] 1.6RAILROAD SPIKES [FT. MARGEL THE SOPHANT]
[g] 1.7BLOOD IN THE GARDEN [FT. PREMROCK]

[i] 1.9THE DELECTABLE NEGRO [FT. MARGEL THE SOPHANT]
[j] 1.10RINZLER WRECK [FT. ALASKA]

[l] 1.12NEW MUTANTS [FT. SHEMAR, BLACKCHAI, & SUNMUNDI]

The much-admired southern soul singer Eddie Giles’ final single for his local Shreveport label Murco, was a self-penned bluesy plodder called ‘Ain’t Gonna Worry No More’. Hiding on the flip was ‘Tingling’ a catchy, atmospheric song written by Murco executive Dick Martin and Jimmy Johnson whose pop group the Peermonts were label-mates. His subsequent release by the same production team appeared on the Silver Fox label so his management may have felt his time at Murco was up - the few pressings of ‘Tingling’ are now in the rare soul big price league.
Around the same time Eddie cut a version of a 40s Country song written by Fred Rose which leant itself to being an excellent mid-tempo soul number; though not released at the time. Despite its sparse instrumentation, it is a very good performance, now on vinyl for the first time.

'Palle Mikkelborg (b. 1941) - a spiritual jazz legend, acclaimed composer, trumpet player and electronic music pioneer - is back in the studio recording his first solo album in more than 25 years. Working with him as a producer is Jakob Bro, with whom he has recorded the great ECM albums Returnings with Jon Christensen and Thomas Morgan, and Strands with Marilyn Mazur.
'"When Palle decided to stop touring and performing live, I suggested that we sit down together and listen through the many MiniDiscs and DAT tapes he had tucked away, hoping we might find a new direction for making music together. We went through everything - recordings of orchestras and choirs, soundscapes, and so on - material he had worked on throughout his career,” says Jakob Bro. “I can still remember the first time we said it out loud. Suddenly, it made perfect sense in my mind: a solo album. An album devoted entirely to Palle - his sound, his vision, his voice. It felt like something the world truly needed.”
'This final opus sees Palle Mikkelborg re-interpret and record his own orchestral works and two pieces by Per Nørgaard and Thomas Laub as 'meditations' on solo piano, trumpet and flugelhorn mixed with soundscapes and guest performances by longtime collaborators Helen Davis, Jakob Bro and Thomas Li.
'As a soloist his sound on trumpet and flugelhorn is both much loved and familiar after decades at the forefront of Nordic Music, but on Light one is struck by the weight Palle Mikkelborg has given his soundscapes and the grand piano. Forever curious on what's ahead, the album underlines his spiritual and ever-seeking approach to free improvisation, classical composition, choral works and experimental sound landcapes.'

Kapote presents: ITALOMANIA Vol. 4.

Toy Tonics Italomania Vol. 4 is a compilation dedicated to new ITALIAN DISCO. Not ITALO DISCO.

10 new tracks made by young producers from Italy, exclusively made for Toy Tonics. All songs with Italian vocals.

Made with a lot of love by

Cleeeo, Giorgio Lopez, Magnolia, Juan Soto & Sam Ruffillo, KOKO, Luca Averna, Ricardo Baez, Euro Nettuno, The Cube Guys and Paccone.

The Italomania compilation was initiated by Mathias ‚Kapote‘ Modica. Creative mind behind Toy Tonics and half italian producer himself.

The series is a manifesto to show the status of Italian disco of today.

Kapote invited the most relevant producers to show different new styles of modern Italian disco and house music.

With a wide range of influence: Live disco, indie dance, italo pop, and italo house.

Italian disco is not Italo disco. The last few years saw a big revival of the trashy pop music of the 1980s called Italo disco, mostly with English lyrics.

But this compilation is about something else. It is about this new Italian disco. Toy Tonics wants to show a new way to combine Italianity with dance culture.

The Italomania Vol. 4 Artists

Cleeeo - Come Tocchitu: A sexy and sophisticated disco house track by 22 year old newcomer DJ and producer Cleeeo. Driven by a warm, uplifting groove and strong dancefloor energy. The record is dedicated to Brazil. The vocals move between Italian and Portuguese. This creates a natural bridge between two cultures.

Giorgio Lopez - Italiani Brava Gente: Giorgio Lopez is an important player from the much talked about new music scene from Napoli.

For "Italiani Brava Gente," he teams up with Los Angeles artist Sueño. The track is a tongue-in-cheek take on the stereotypical Italian male. It pays homage to late Italodisco legend Pino D’Angiò. The story unfolds from the perspective of a foreign tourist navigating the contradictions of self-proclaimed Casanovas.

The Cube Guys - Saper Ringraziare: The legendary italo house duo shows their Italian vibes and musical taste with “Saper Ringraziare”. The track captures the warmth of summer and the infinity of urban nights. A combination of early Italo disco elements mixed with their typical groovy beats.

Magnolia - Vesuvio: Magnolia’s “Vesuvio” is a cover version of a song from the 1960s by artist E’ Zezi. While the original is more in a folk vibes, the new version is an irresistible piano house track with groovy, sun-soaked vibes. It is made for the dance floor. This track blends Mediterranean roots with the euphoric energy of modern house. Some might know the vocals already from another cover version by Nu Genea from the previous album.

Juan Soto & Sam Ruffillo - Italomexicano: What happens when a Toy Tonics artist hangs out in Mexico city and teams up with the local scene? The result is here. A blend a Toy Tonics sound and tons of vintage synthesizers and some additional production by Mexican producer talent Juan Soto.

You get "Italomexicano". A fuse of the mystique of Mexican mariachi with the magnetic pulse of Italo disco.

KOKO feat. Elena Moroder - I Can't Understand: This melancholic piano house track is a serious floorfiller! Goosebumps! Italian DJ and producer KOKO teams up with Elena Moroder on "I Can’t Understand". Elena delivers a captivating vocal performance. The track explores the misunderstandings of a relationship where emotions were never fully expressed. It blends an iconic piano melody with warm, uplifting grooves.

Luca Averna - Le Luci Della Pista: Luca Averna is a DJ, producer, and resident at the iconic Pikes Hotel in Ibiza. "Le Luci Della Pista" is an energetic track designed for peak-time Ibiza moments while keeping a strong groove and a playful spirit.

Ricardo Baez - È Venerdì: Ricardo Baez is an Italian-Venezuelan DJ and producer. He is known for his distinctive blend of house, dark electro, italo disco, and leftfield electronics. Well respected in Italy's contemporary electronic scene he has been releasing on labels such as Running Bag, Permanent Vacation, Bordello a Parigi, Correspondant, Mule music, Live at Robert Johnson.

Euro Nettuno - La Notte Chiama: These guys are hot! Part of the Polyamore Crew, one of the rising italian new disco collectives their sound mixes Italo house from the 1990ies, electro and Pop in a very cool new way.

Paccone - J'Adore Napoli: Vincenzo Paccone is a DJ, producer but also very renowned graphic designer. He is co-founder of NSS. A fashion agency that is by now one of the leading italian fashion crews. He has been also working as a designer for Circoloco Ibiza for many years and organizes some of the hottest parties in Napoli currently. He makes his official debut as a producer with “J’Adore Napoli”. It is a vibrant tribute to the house music culture born in Naples. The track draws inspiration from the late 1990s and early 2000s. And is part of a NSS campaign about the ’new coolness of the city of Napoli“.

It's fitting that Mike Jefford is both a photographer and a musician, his music career having slowly evolved like a developing photo coaxes Technicolor images out of the shadows. His sonic palette began taking shape in Medway, Kent with darker, grittier strains: teenage grunge and metal turned into drum & bass and IDM, following the Brighton club scene to Berlin as Positive Centre, until he made a nest in rural Portugal where Laguna Seca’s bright, expressive range would blossom.
A longstanding friendship with Chris Clark supported Jefford’s most pivotal artistic evolution yet, jumping from a decade of techno dusk to music practically overflowing with life as Laguna Seca debuted on Throttle Records.
“O tempo” can mean “the time” or “the weather” in Portuguese, two intensely changing powers whose many different connotations Jefford reflects in a highly varied tracklist. The breadth of climatic catharsis permeates through textural production and songwriting experiments, down into the very bedrock of the album’s engineering process where Jefford traces the long signal chain of time: the amps, desks, and tapes of Motown, the vinyl mastering studio’s intricacies, the Akai samplers that gave modern hip hop its “ghostly and impressionistic” sound, the software that drives electronic music today.
Much as 2026’s O Tempo was inspired by vintage tonality, retro aesthetic, and the likes of CAN, Kraftwerk, and Jimi Hendrix, it’s not an exercise in nostalgia; this is music that could have only been made with today’s technological advancements, revelling in anachronisms and collisions between hindsight and present tense.
It’s tempting to view Jefford’s projects as opposites, but they come from the same sonic values. Positive Centre’s “bleak” and “sinister” world is also incredibly detailed, constantly updating pile-driving grooves with microscopic flourishes and vast ambient swells. The flaring psychedelia of Laguna Seca is a continuation of those textural, material, and kinetic explorations, where plate reverb splashes, blistering and crunchy beats, vocal glimmers, and guitar swagger are all glued together by recurrent themes of memory and time. As each of his projects travel to the same destination, all of Jefford’s roads have eventually led to vibrant colour.


Die Band ,The Black Heart Procession" besteht aus den beiden Hauptsongwriter Tobias Nathaniel und Pall A. Jenkins, die beide zuvor bei ,Three Mile Pilot" mitwirkten. Manchmal treten sie als reines Duo auf, zu anderen Zeiten laden sie Freunde ein, mitzuspielen. Mario Rubalcaba (Clikitat Ikitowi), Jason Crane (Rocket from the Crypt) und Kazu Makino (Blonde Redhead) wirkten an der Entstehung von ,Three" mit. ,Three", das ursprünglich im Jahr 2000 erschien, ist das dritte Album der Black Heart Procession in voller Länge. Die Klänge der Instrumente verschmelzen miteinander und untermalen den Rhythmus von Palls ausdrucksstarkem Gesang. Jeder Song scheint sich unaufhörlich vorwärts und rückwärts zu bewegen und spielt dabei mit dem Kontrast zwischen hellen Klängen und dunklen, grüblerischen Themen. The Black Heart Procession brechen Herzen mit der Verschmelzung von Klängen aus Klavier, Säge, Pumporgel, Gitarre, Trompete und Gesang sowie dem einen oder anderen ungewöhnlichen Perkussionsinstrument. Die Klänge mögen bei einigen von Ihnen Schmerz oder Freude auslösen - oder beides -, da ihre Musik von Trauer und Herzschmerz durchdrungen ist, doch es liegt ein unterschwelliges Element der Befreiung darin.

Seit der Gründung von 2nd Grade im Jahr 2018 hat der in Philadelphia ansässige Songwriter und Produzent Peter Gill (der auch Gitarrist der Alt-Country-Band Friendship ist) eine Reihe spektakulärer neuer Welten erschaffen ausgehend vom 20. Jahrhundert-Gitarrenpop, wobei er dessen typischen Klischees irgendwie meilenweit hinter sich lässt, indem er sie genau bis zu ihrem logischen Ende verfolgt. Girls and Boys" ist das neueste Album von 2nd Grade und das erste bei Lame-O Records eine Sammlung von zwanzig Songs, von denen keiner länger als drei Minuten dauert, vollgepackt mit unwiderstehlichen Gitarrenriffs, Power-Akkorden, rasanten Drumbeats und wirbelnden Melodien. Songs von schwindelerregender Komplexität, die man trotzdem nicht aufhören kann zu summen. Auf Girls and Boys" gelingt 2nd Grade immer wieder der wundersame Trick des perfekten Popsongs: Es so aussehen zu lassen, als wäre es ganz einfach.

As Eerie Enterprise, upsammy and Piezo have funnelled their singular styles into a classic-feeling but ultra-modern album of elegant, angular electronica. With a strong melodic sensibility and a highly developed palette of playful sound design in their toolkit, the unexpected pairing grew spontaneous jams into a considered collaboration, and Places Remember Events is the end result.

Individually, Thessa Torsing and Luca Mucci have carved out strong identities within contemporary electronic music. As upsammy, Torsing has applied a delicate precision to ambient and uptempo approaches alike, building up a striking catalogue of releases including her 2020 LP for Dekmantel, Zoom. Meanwhile, Mucci has taken a wayward path through contemporary bass music and techno that matches edgy sound design with playful unpredictability. As Eerie Enterprise, both artists tap into their respective creative instincts while arriving at a unique sound with a nurturing quality they were both missing from modern dance music.

Having appreciated each other's work for some years, in July 2024 Torsing and Mucci seized an opportunity to carve out two days in the studio. There was no expectation of an end product, but the sketches conceived during those open-ended, hardware-oriented sessions felt worthy of a deeper exploration developed and finalised over the following year-and-a-half.

Places Remember Events has an unapologetically nostalgic streak, calling to mind the warm glow of melodically-charged, golden-era electronica. The twitchy rhythmic make-up of tracks like 'Decay + Collapse' and 'Folding Origin' speak to the duo's shared affinity for ravey energy, but even within faster frameworks they lean into half-time space to maintain a light-footed agility that allows the relatively busy arrangements to feel grounded and patient rather than frantic.

There's an appreciation for mystery in the emotional make-up of many of the tracks, not least in the slithering textural exploration and spatial tension of 'Capsule', but elsewhere fragile melancholia guides the melody direction of 'Superradiance' and 'Things Fall Upwards'. The final impression is crisp and modern while delivering an accessible experience that seeks to soothe rather than shock when so much contemporary club music tips towards uneasy intensity.

Finding malleable approaches to their chosen sonics and applying them to intentional song structures, Eerie Enterprise collectively land on a sound that promises a lasting reward for the repeat voyager — satisfying headphone gear in the grand tradition of introspective electronic music, but also with a physical immediacy that will manifest in the live set upsammy and Piezo have put together to perform later in the year.

Gatefold LP and printed inners !

Superb IDM techno/house and breaky Ambient IDM Sounds... A Modular project _ith a crazy sound exploration, sweet and surprising.
A music art project.

BIG !

**2026 REPRESS. New Orange Artwork***

TRjj is made up of several people that meet regularly since 2016. It is practiced collectively with interchanging names and roles, so the full control about disguised authorship would be guaranteed. Everyone involved was set to meet half way. TRjj is a filter for the kinship of many. Its the freedom attained, once you have gotten rid of yourself. This heteronomic practice would be ideal to advocate against reasons which are claimed, biographies that are scripted, economies that are fueled and histories that are written to be recognized as something apparently truly valid and fully finnished.