Suche:wa

2026 Repress

After the worldwide techno hit that was Darc Marc's "Dirty Rocking Bass" comes the next Cluster X instalment from French legend GANEZ THE TERRIBLE. "The Rave..." is another prime time techno monster from the Acid Techno/Techno underground that is going to cause massive dancefloor mayhem with its cheeky 'The rave, the sound, the people, the party" sample and hard funky beats and 303 stabs. With pounding remixes from D.A.V.E. THE DRUMMER, and new kid-on-the-block SEON, and a kicking bonus track "Elevator" from Ganez himself this gives a nod to all areas of harder techno.

The Lockheed F-117 Nighthawk was an American single-seat, subsonic, twin-engined attack aircraft and is a fitting name for this EP, which is equally low-key, menacing and devastating from RAN. Influences from Loefah, Youngsta and Boddika abound in these stark and dark dub soundscapes, which drip with dank warehouse vibes, ride on booming low ends that melt into an inky night and come with precision-engineered percussion. 'GBU-10 (External Guidance)' is a late-night search across a deserted city, 'JDAM (Signal Without Light)' has a more sub-aquatic feel and rolls more fluidly, while 'GBU-27 (BLU-109 Core)' is ominous, with ghosts of dubstep and broken beat lurking round every corner. Fantastically immersive and meticulously executed, not least because the EP was mastered by the great Transition Studios in South East London (early support from Carrier).

Cécille Summer 2026 Compilation
Summer and Cécille have always gone hand in hand.

For 2026, we’re back with another carefully selected collection of records that perfectly capture where house music feels today. Eleven tracks from artists we’ve admired for years, longtime friends of the label, exciting
newcomers, and fresh faces joining the Cécille family for the very first time.

Piem opens the journey with his long-awaited Cécille debut. A respected name in the scene for many years, his unmistakable groove has been on our radar for a long time, and we’re proud to finally welcome him to the label with Give Me The Rhythm.

Leon returns to where it all began. Since his very first Cécille release back in 2009, he’s been an important part of the label’s story. Let Bass Kick is classic Leon—timeless, understated and effortlessly effective.

UK duo Late Replies continue their incredible rise with Moment 4 U. Their fresh take on house music has been impossible to ignore, and we’re thrilled to have them on this year’s compilation.

Dutch mainstay Jesse Maas delivers Voices In My Head, another classy slice of groove from one of the most consistent names in the Netherlands’ house scene.

Buenos Aires’ Manu Desrets impressed us so much that one track simply wasn’t enough. His two contributions, Get GG and Voy No Kako, showcase two different shades of his sound and perfectly reflect why he’s become
one of the most exciting producers coming out of Argentina.

Andrew Azara has become a true part of the Cécille family over the years. This time he teams up with Traumer, who makes his label debut with a beautifully understated deep house record. Need You is one of those tracks
that quietly sticks with you.

We’re also excited to welcome Jay de Lys to the family. Together with Simon Kidzoo and Monölitio, the trio delivers Into The Light—a warm, feel-good house record that instantly became one of our favourites. Three
artists from Argentina, the Netherlands and Barcelona coming together exactly the way house music should.

After turning heads on last year’s Costa compilation, Brazil’s Classmatic returns alongside fellow Florianópolis producer Marian. Brazilian Madness is exactly what you’d expect: infectious groove, irresistible swing and that
unmistakable Brazilian sense of rhythm.

One of the hottest young names coming out of the Netherlands right now, Stefan Meser delivers Don’t Hesitate—one of those records that gets stuck in your head after the very first listen.

Closing the compilation is someone who’s been part of the Cécille story since the very beginning. Christian Burkhardt has been a longtime friend of the label and one of Frankfurt’s finest. Specialo lived in our vault for almost two years while we waited for the right moment to release it. This felt like the perfect place for it, and the perfect way to close another Cécille summer.

Eleven tunes. Eleven different stories. One soundtrack for Summer 2026. Welcome to the next chapter of Cécille.

Double LP, pressed on gold vinyl. As part of Lineage II's 22nd anniversary celebration, NC America and Black Screen Records are proud to announce the first-ever Lineage II collector's edition vinyl album, which elegantly combines a track selection reflecting the game's iconic history and memorable musical identity. This vinyl album is now available for pre-order and will hit the stores in November. Arranged by composers Bill Brown (Tom Clancy's Rainbow Six), Jamie Christopherson (Metal Gear Rising: Revengeance), Inon Zur (Fallout 4), and NCSOUND, the track list is a collection of 40 of the most recognized pieces from the original soundtrack, carefully selected to create a cohesive listening experience rather than a complete collection. Published by NC, the album flows between calm, reflective village themes, atmospheric exploration pieces, and more intense, dramatic compositions tied to combat, progression and large-scale conflict. The track list draws from the original soundtrack's most recognized pieces and centers on two major regions: Giran and Aden. Early on their journey, players venture into the world's southern territory of Giran. As they explore the region's villages, tracks such as "Crossroad at Dawn," "Shepard's Flute" and "Caravans Crossing" help create a calm, grounded atmosphere that reflects the peaceful nature of travel through the area. In contrast, the world's northern territory of Aden reflects the game's grander, more conflict driven spirit. As players continue their journey, the Elven Village track "Unicorn's Rest" marks a turning point, gradually giving way to darker settlements and imposing castles through standout tracks such as "Knighting Ceremony" from the iconic Aden Castle and "Expedition March" from the Town of Oren, where tension, warfare and large scale conflict take center stage. Across both regions, the tracks are more than background music; they shape how players experience each location, from villages and hunting zones to moments of intense combat. This collection brings together the sounds that have defined Lineage II for the past 22 years, offering a reflective musical journey for both longtime players and new listeners alike.

Green Tee Latte & Cappucchino Variant. Shall we add a little milk? Black Screen Records and Toge Productions have once again teamed for the vinyl repress of Andrew Jeremy's soothing, relaxing and jazzy lo-fi soundtrack to the coffee brewing and heart-to-heart talking simulator Coffee Talk on limited edition vinyl. For the first time, the soundtrack will be available on Green Tea Latte & Cappuccino Ink Spot double vinyl and comes in a beautiful gatefold sleeve with stunning original artwork by Natto (@vulpetrope) and liner notes by the Coffee Talk developer team. "Jazzy chords, hip-hop beats, vinyl crackles, a chilled mind and heart, and a prayer, that's all you need to make music for Coffee Talk. It's soothing, relaxing, and most importantly, keeping the warmth of your heart." - Andrew Jeremy, Game Producer / Music Composer

25th Anniversary Black Vinyl Repress.
Before he was Caribou, Dan Snaith was a 20-something student in a "crappy" Toronto bedroom, recording music on a beat-up computer that used to strain under the weight of digital recording.
Start Breaking My Heart was Snaith's 2001 debut, originally released under the name Manitoba. Twenty-five years on, it still sounds like an artist finding his voice in real time - rainbow melody, hopscotch percussion, and playground laughter stitched into warm, tactile electronic pop.
Reflecting on the record, Snaith said it was the first time something clicked - he'd been making music since his early teens, but this was when he first felt he understood what he wanted his tracks to be. That moment coincided with the chance encounter that changed everything: he met Kieran Hebden (Four Tet) at a UK festival, who helped Dan get this album released - the start of a career that has spanned a quarter century and many albums since.

Limited Edition 2026 Black Vinyl Repress.
Up in Flames is Dan Snaith's second album, originally released under the Manitoba moniker on March 31, 2003 .
Made with the same modest home setup as its predecessor, it nonetheless sounds like a different artist entirely - a kaleidoscopic rush of sun-bright melodies, tumbling percussion, and psychedelic pop that traded the hushed intimacy of Start Breaking My Heart for something warmer, bigger, and more joyfully overstuffed, encompassing 1960s psychedelia, Madchaster swagger and shoegaze swoon.
Snaith was later forced to change his artist name after a well-documented lawsuit, and Up in Flames stands as the final album released under the Manitoba name - a high point to go out on. The record was met with widespread critical acclaim, and has since been recognized by Pitchfork as one of the standout albums of the 2000s. It remains, by most accounts, one of Snaith's finest and most beloved records.

Limited Edition 2026 Black Vinyl Repress.
The Milk of Human Kindness is Dan Snaith's third studio album, originally released in 2005. It marked the first record credited to the Caribou name, after Snaith dropped his previous Manitoba moniker following a threatened lawsuit from Handsome Dick Manitoba of The Dictators.
Rather than start from scratch, Snaith folded the two sides of himself together - the icy precision of Start Breaking My Heart and the sun-drenched sprawl of Up in Flames - into something both hypnotic - influenced by French progressive rock and German krautrock of the 1970s - and pastoral.
The record was met with strong critical acclaim, and its singles, "Yeti" and "Barnowl," remain fan favorites to this day. Against the backdrop of the legal name change it is simultaneously the end of a chapter while also quietly setting the stage for the run of albums that would follow.
Tracklist:

Magazine Announces 15th Anniversary Remaster of Barnt’s Techno Classic Geffen

Cologne-based record label Magazine celebrates the 15th anniversary of Barnt’s visionary anthem Geffen. One of electronic music's most defining tracks of the 2010s will be reissued in a 2026 remaster edition, marking the first time it receives its own dedicated standalone release.

Originally published on the legendary Cómeme imprint as part of the Various Artists EP The Power Of Now, the track rapidly became a global phenomenon. Looking back, one can hardly imagine Geffen without the 2010s, or, conversely, maybe even electronic music of that era without it. The composition mirrors the expressive possibilities of bedroom producers at the beginning of that decade—an era where artists could launch tracks into the world and have them resonate through their sheer sonic power, without major marketing efforts.

Barnt remembers: "It was one of my earliest tracks. I had just entered art school and didn't own much equipment. My MIDI keyboard only had two octaves. I would always play notes with my right hand while simultaneously shifting through the octaves with my left. This is how the hook line came to life. The production only consisted of seven or eight stems, and barely any equalizers were used during the mixdown. In hindsight, this sparse approach to production probably made it sound different and is why it hits so hard on big sound systems (while sounding unfinished to some on YouTube). At that time, we were doing a small festival on a playground in the center of Cologne. When I played the CDR there, Matias Aguayo demanded it right after. That is how it ended up on Cómeme."

The release comes with two very Magazine-esque reinterpretations from the label's two other co-founders alongside Barnt: a powerful atmospheric club remix by Jens-Uwe Beyer, and Magazine Hallucination, a wild, collaborative, psychedelic mutation by Crato and Beyer.

Jörg Burger, who already mastered the original track, is also responsible for the mastering of this release.

Swooped Records would like to introduce our limited series of vinyl only edits We love many of the edit labels with 1-2 tracks per release, and we’re going to help you value up with 4 top-shelf cuts on every record! We kick it off with Chainsnatcher “Jump Up In It” Vox that is straight up, dirty, bumping House music! It’s also featured on Derrick Carter’s for The 6 Mix w/ Mary Anne Hobbs on BBC’s flagship BBC Radio 6 Music. Next up Ric Viera of Guided Methods fame teams up with Elrose for “Only Ewe”. This funky House take on an afro-boogie jam will shake the dance floor and keep the discerning heads nodding. The flip side brings us Chainsnatcher “Jump Up On it” Dub. This is for those that want a stripped back version of the Vox with well placed, minimal vocal snippets and that dance floor boogie. Agent 818 rounds it off with “Don’t Let Nobody” and it’s time to get the summer time vibe started pronto! This jam will do the trick whether it’s day party-fun to after-hours strutting, just ask DJ Heather as she’s been playing it for a minute now.

Hope you dig!

Lex Walton (née Alex) is an American songwriter, actress, prose poet, and filmmaker whose work is unflinchingly confessional, and whose live performances are filled with ecstatic masochism and flailing. In addition to her catalog of a dozen or so mostly home-recorded albums, EPs, and singles, she has recorded collaborations with Devi McCallion (Black Dresses, Girls Rituals), Geese, and Ezra Furman, written the pop music manifesto The Sound Rocker's Prayer, and starred in Louise Weard's five-hour epic film Castration Movie Anthology II: The Best Of Both Worlds.


ULTIMATE LOVE FOREVER is Lex’s unwavering, iconoclastic Sub Pop debut. Some of the tracks already have fans and the music press heated up, so we’ll let the critics do the talking! PASTE: “Walton’s wiggly, anxious power pop wades through pages of dead links and forum threads to get to its incendiary hooks... anachronistic collage of Edwardian portrait artists, country greats, and noise rock heroes… a roadside altar… with its lo-fi hissing and tongue-twisting one-liners.” The Quietus: "For fans of early Jonathan Richman, NYC gutter punks Dollhouse, or staring at the fluorescent lights of the Walgreens ceiling on your third day withdrawing from psych meds, barely able to parse the words ‘Medicaid coverage has lapsed’ as a pharmacist misgenders you. And also, later Jonathan Richman."


ULTIMATE LOVE FOREVER was written by Lex Walton, produced by Lex and Dan Boeckner, recorded, mixed, and mastered by Ben Greenberg at Thump and Circular Ruin in Williamsburg, with assistant engineer Alice Cohen. ULTIMATE LOVE FOREVER features appearances from Boeckner (Wolf Parade, Handsome Furs), Emerson Borakove, Alice Cohen, Brendan Dunphy, Emily Green (Geese), Greenberg (Uniform, The Men), Scotty Malcolm, Sarah Neufeld (Arcade Fire), and Sam Revaz (Geese).

Mit ihrem neuen Album Nine setzt das aus Chicago stammende Post-Metal-Trio Russian Circles seine bedächtige Weiterentwicklung und disziplinierte Verfeinerung fort. Dabei besinnen sie sich auf ihre Stärken und erweitern zugleich die Grenzen ihres Klangspektrums. Dies ist eine Band ohne Radio-Hits. Es gibt keinen Konsens unter Fans darüber, welches ihr bestes Album ist. Was bleibt, ist der Ruf nach Beständigkeit und Qualität - ein Ruf, der sie zu einer der weltweit bedeutendsten Bands im Bereich des instrumentalen Heavy Rock gemacht hat. Auch wenn sie betonen, dass ihre Musik aus einer Vielzahl unterschiedlichster Einflüsse schöpft, lässt sich sagen, dass sich die experimentierfreudige Vielfalt von Russian Circles zu einem unverwechselbaren, einzigartigen Sound entwickelt hat. Obwohl die Mitglieder von Russian Circles mittlerweile über das ganz USA verstreut leben - Gitarrist Mike Sullivan in Los Angeles, Schlagzeuger Dave Turncrantz in Chicago und Bassist/Keyboarder Brian Cook auf Vashon Island bei Seattle -, haben sie für Nine ihre jeweiligen Standorte musikalisch miteinander verwoben. Die sieben gewaltigen, fast seismischen Titel wirken wie Soundtracks zu den Herausforderungen und Tragödien des modernen Lebens. "Unsere Musik ist ein gemeinsamer Prozess der Versöhnung, der Orientierung und der Reflexion über das Älterwerden - sowohl als Individuen als auch als kreative Einheit. Das Leben hat reale räumliche Distanzen zwischen uns geschaffen, doch die Band bildet weiterhin unseren gemeinsamen Mittelpunkt. Diese kreative Zusammenarbeit ermöglicht es uns, den Lauf der Zeit zu erfassen und zugleich voller Zuversicht in die Zukunft zu blicken", erklärt die Band. Während frühere Alben beim Erkunden verschiedener musikalischer Gefilde fast spielerisch wirkten, ist Nine das Zeugnis einer Band, die ihr Terrain genau kennt und ihre Position in dieser vielfältigen Klanglandschaft festigt.

Body Clinic enters the realm of Big Trouble Records with 4 no nonsense, hard hitting club tools.

“Connection Lost” EP tells a story, between the influences of the early 2000’s East London scene, and the classic elements of House with an ever-evolving modern yank. Deep rolling subs keep the body moving, while classic organ sounds weave through the soul. A true diggers paradise, with tracks that journey their way through all hours of the night.

The long-awaited reissue of "Woodstock Generation” set for release in the 11th installment of "Spin This Now!," a masterpiece of Japanese jazz-rock by Soul Media, led by Jiro Inagaki!


Led by Jiro Inagaki, one of the leading saxophonists in the Japanese jazz scene, Soul Media captured the explosive musical movements of the late 1960s and early 1970s on this classic album. Rooted in jazz while boldly incorporating elements of rock, funk, and psychedelia, the album is packed with the thrilling sound that could only have emerged from Japan's music scene of the era.

Berlin-based Dutch-Italian composer and musician Aimée Portioli aka Grand River presents the new album Temporary, returning to the renowned Editions Mego label with her most expansive and focused LP yet.

Rooted in existential ideas of impermanence and flux, Temporary is a deeply emotive work centred on the rich interplay between resonant guitar work and innovative electronics. Written in the wake of profound personal grief and loss, the album sees Portioli infuse her music with a raw, expressive intensity anchored in this experience. Across eight strikingly melodic and affecting soundscapes, Portioli powerfully embodies a dramatic encounter with mortality.

Temporary reprises Portioli’s exceptional streak of material across acclaimed labels including Donato Dozzy and Neel’s Spazio Disponibile, Caterina Barbieri's light-years, Ghostly International, Tresor and Umor Rex. The LP represents the latest tour de force in her distinctive electronic practice. Alongside a raft of lauded releases, Portioli has devised visionary multichannel installations which dissolve the boundary between the art gallery and the performance space.

Her new album signifies a culmination of her work, imbued with the depth of Portioli’s artistry. Shaped by a paradigm shift rising from loss, the record reflects a contemplation of the human condition and the ephemeral nature of existence. Ruminating on the thoughts and experiences that have fed into the record, Portioli reveals a consequential recognition underpinning the record:

"Sometimes, when travelling in places far from home that I know I will most likely never return to, or while accompanying someone I loved towards the end of their life, I become intensely aware of the singularity of the moment, and of how precious and sad this feels at the same time. It carries a particular weight because it will never happen again in quite the same way. Through experiences like these, I have gradually come to understand the temporary nature of all things. They taught me that to live is to experience the present while already feeling the trace of its disappearance, something both painful and blissful." - Aimée Portioli, Grand River

The album is invested with a potent mood and momentum from the outset. Establishing an evocative tone with the subtle, pulsating synthesis, rustling undertow, and oceanic low end of 18 circles to heaven, Portioli gradually ascends through the incandescent modular majesty of Come to stay, and the turbulent, brooding guitar figures of The crossing of the body, the crossing of the mind. The album progresses through the rapturous electronic phasing of The little we last into the coruscating synth grandeur of Let me know when you’re pure, before a thrilling endgame.

Closing with the wavering harp runs, heavy percussive thud, and cataclysmic guitar discordance of Maybe I am dead and this is paradise, and the evanescent atmospherics and beautiful acoustic refrains of Work of ending, Portioli takes the listener through vast landscapes of sound and mercurial emotional states. Intimate and immersive in equal measure, the record traces a compelling sensory journey.

Each part of the album is part of a larger poetic sentence, with track titles forming fragments that together articulate a meditation on transience. From 18 circles to heaven and Come to stay through From the other side and Work of ending, they read like quiet statements about being human, about loving, losing, remembering and eventually fading. The record moves through these states as a continuous passage, depicting a poignant soundworld guided by temporality.

The awareness that our time is limited sharpens the value of what remains. Each encounter, each gesture, each fleeting moment becomes more vivid. Temporary lingers in the space where presence and disappearance coexist, where everything is already passing away and therefore becomes infinitely precious. Things matter because they do not last. Mortality does not diminish life; it intensifies it. In confronting these ideas, Temporary feels irrepressibly alive.

Composed, produced and mixed by Aimée Portioli
Production and mixing assistance by Luca Sammartin
Acoustic piano on Maybe I am dead and this is paradise by Andert Tysma
Mastered by Rashad Becker
Cut by Marta De Pascalis at Schnittstelle, Berlin
Artwork by Nicola Tirabasso
Layout by Riccardo Piovesan

Die vollständigen Aufnahmen aus der ,Crank!"-Ära des wegweisenden texanischen Nicht-Emo-Quartetts Mineral sind nun erhältlich. Auf drei LPs versammelt finden sich Nachdrucke von ,The Power of Failing" aus dem Jahr 1996, dem Abschiedswerk und zweiten Album ,EndSerenading" sowie ,_And What Remains" - einer neuen Sammlung von Singles und Demos. Nina Corcorans ausführliche Begleittexte entwirren die komplizierte Geschichte des zurückhaltenden ,mittleren Bruders" der zweiten Welle, illustriert durch Dutzende von historischen Fotografien, Flyern und Songtexten in grellen Farben. Überzeugen Sie sich selbst.

Die vollständigen Aufnahmen aus der ,Crank!"-Ära des wegweisenden texanischen Nicht-Emo-Quartetts Mineral sind nun erhältlich. Auf drei LPs versammelt finden sich Nachdrucke von ,The Power of Failing" aus dem Jahr 1996, dem Abschiedswerk und zweiten Album ,EndSerenading" sowie ,_And What Remains" - einer neuen Sammlung von Singles und Demos. Nina Corcorans ausführliche Begleittexte entwirren die komplizierte Geschichte des zurückhaltenden ,mittleren Bruders" der zweiten Welle, illustriert durch Dutzende von historischen Fotografien, Flyern und Songtexten in grellen Farben. Überzeugen Sie sich selbst.

Frozen Flashes is the new album by Okvsho, the Zurich-based project of brothers Christoph and Georg Kiss.


Recorded through sessions in Zurich and London, the album begins with musicians playing together in the room. Improvisations, rhythms, textures and small spontaneous moments are captured, then sampled, cut and rearranged into nine carefully shaped tracks.


Featuring collaborations with Azekel, Melodiesinfonie, FloFilz, Tenderlonious and Hadel, Frozen Flashes is built around the moments that are impossible to plan — brief flashes that appear in a session, disappear again, and sometimes become the starting point for an entire song.


Catch Okvsho +experience live across Europe this autumn — bringing Frozen Flashes on the road.

Smallville presents a very special album project – 'Tumbling Cycles' by Billus is here to stay! Ethereal deep-dubby house music from Australia, that feels like finding the hidden-treasure you were not even looking for.

„When I am most enjoying making music, I have this sense that I'm just watching cycles of sound happen and match up in front me on their own and I'm not really just doing anything and it's really nice. Most of these tracks stem from a small collection of
iteratively distorted percussive jazz and breaks that I kept coming back to and watching them cycle around each other.“

This is Billus' approach while he is out in the studio zone. As a result, we all get the chance to scuba-dive into his soundscapes like a warm blanket, interwoven rhythms and cosmic textures, that seem to have the ability to heal. The fresh feels was real,
every time the album went by.

Billus is praised for his impeccable mixtapes for a lot of very special occasions of doing not a lot- make sure to check these out. And Billus produces sprawling music- he released on Naarm labels Animalia, Vessel and Pollinate and he makes music to shyaway in the woods, picking up lil mushrooms if you feel like- or leave these untouched for the same effects.

So while listening to the Tumbling Cycles LP, make yourself comfy and try to work out your own personal scenario, in which Billus' music and his leftfield approach would flourish best. These tracks come with approval by the sweetest dancefloors
around the world and we can't wait to release these to the world. The 2x12“ comes with a stunning full-cover artwork from Stefan Marx.

Chris Liebing's collaboration with Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer, aka The Alte Stuben Modular Ensemble, 'Entangled Circuits', has been remixed by Hayden Payne, better known as Phase Fatale. Originally released on Chris Liebing's 'Evolver' LP earlier this year, the remix will be released via CLR 20th November 2026. The original track is a collaboration between Liebing and The Alte Stuben Modular Ensemble made up of Mute founder Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer. New York-born, Berlin-based Phase Fatale has held residencies at Berghain, Brooklyn's Merge and Tbilisi's KHIDI, and has built a catalogue across Ostgut Ton, Dekmantel, Jealous God and his own BITE imprint, carrying a lineage that runs from New York's cold-wave underground through to the sharper industrial edges of Berlin's club circuit.

Phase Fatale rebuilds 'Entangled Circuits' around a hypnotic bassline, pitching the original's synth stabs up a notch.
Weighted kick drums, relentless repetition, and industrial texture anchor the rework in techno mastery, delivering a peak-time weapon without loosening its grip on the source material.

The original version of 'Entangled Circuits' appears on 'Evolver', Liebing's first solo techno LP, released 27th March 2026 on CLR. 'Entangled Circuits' was composed on a skiing trip to Oberlech, Austria with The Alte Stuben Modular Ensemble, Mute founder Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer, blending dark, modular synth textures with driving rhythmic sequencing. Marking a distillation of over three decades at Techno's core, the album pairs introspective depth with immediate, floor-driven impact, bringing together contributions from the likes of Luke Slater, Charlotte de Witte, Speedy J and The Advent, while ultimately remaining rooted in Liebing's singular vision.

WOW! An early ’80s New Wave, Electro, Proto-Electronica, Industrial and Kraut-Pop album that has never been released before is now coming out on Elaste Records and it’s a perfect fit! History is being made.

Quotes: “A pearl” (Hans Nieswandt) / “Great album” (Hell, Gigolo) / “Awesome album” (Patrick Pulsinger) / “Magnificent material” (Roman Flügel) / “An ’80s electronic gem… an ’80s Krautpop highlight” (Sankt Otten).

In the early eighties, Michael Heinkel was one of those quiet electronic musicians hardly anyone knew — at least outside of Munich. While machine rhythms were being perfected in Düsseldorf, dilettantism was elevated into an art form in Hamburg and West Berlin was soundtracking its own feverish coldness, Munich seemed to be a place where, apparently, nothing was happening. Or almost nothing. Because beneath the radar, far removed from the grand narratives of those years, Michael Heinkel was already creating his own electronic cosmos — stripped-down, idiosyncratic and often ahead of its time. Electronic minimalist music, born somewhere between a home studio, nightlife and the longing for a future that could only just be imagined back then. But the recordings disappeared into drawers, onto cassettes and tape reels. For decades, they remained a secret shared only among friends, insiders and a handful of close companions. It was only 45 years later that Andreas Dorau and Ralf Hertwig (Palais Schaumburg) — two defining figures of that early avant-garde — insisted that the recordings finally be made accessible. Not as an exercise in nostalgia, but as the overdue release of a missing piece in the history of German electronic music. This music is not a nostalgic retrospective. It is a delayed signal from a future that had already begun back then. Format: Heavyweight black vinyl incl. printed inner sleeve + download card



Quotes: -"Michael Heinkel's long-lost LP is a treasure trove. I'm constantly amazed at the musical gems from the early '80s that are still waiting to be discovered." - Hans Nieswandt (Whirlpool Productions) - „Some München musical history that somehow got missed at the time finally gets released after 40 years. Great album.“ - Hell (Gigolo) - “Awesome album! Today, we can only imagine just how groundbreaking electronic music at this level was back then. When gems like these are heard for the first time in perfect sound quality, it’s like a trip back in time to the early days of electronic music. Back to the future!!!” - Patrick Pulsinger (Cheap / iO / Sluts’n‘ Strings & 909 / The Private Lightning Six) - “Terrific material!” - Roman Flügel (Acid Jesus / Alter Ego / Sensorama / Warp 69) - “ELASTE has unearthed an 80s electronic gem! A German minimal wave gem-freshly unearthed! Minimal, rare, brilliant - an 80s Krautpop highlight.” - Sankt Otten - „Pure and delicious 80s Electronics from Munich. We love it.“ - Gorilla Aktiv

You asked for one more. Laibach duly oblige with MUSICK : ENCORE, a follow-up album to their 2026 record MUSICK, out on Mute.

They answer the crowd's demand with six brand new tracks and reworks of songs from the original album, reimagined by an eclectic line-up. Vinyl takers get the core 10-track experience, pairing new songs with four key reworks from the band, Richard X, PUNCHBAG, and Balžalorsky. The CD goes further, expanding to 13 tracks with additional remixes, including a rework of new track ‘#US’ from SILVERWINGKILLER, an Algorithm remix of fan-favourite ‘Allgorhythm’, and a bonus version of ‘Love Machine’ courtesy of The Lincolnshire Poacher.

Where MUSICK turned maximalist, hyper-driven pop into a reflection on our oversaturated, AI-warped media landscape, ENCORE pushes further into that fractured hall of mirrors – glitching, distorting, and rebuilding the original tracks into new shapes, from pulsing electropop to warped Eurodance detours and everything stranger in between.

Ihr habt nach einer Zugabe gefragt. Laibach liefern: Mit MUSICK : ENCORE erscheint auf Mute das Nachfolgealbum zu ihrem 2026 veröffentlichten Werk MUSICK.

Als Antwort auf die große Nachfrage präsentiert die Band sechs brandneue Tracks sowie Neuinterpretationen von Songs des Originalalbums, umgesetzt von einer vielseitigen Auswahl an Künstler. Die Vinyl-Version umfasst zehn Tracks und kombiniert neues Material mit vier ausgewählten Reworks von Laibach, Richard X, PUNCHBAG und Balžalorsky.

Die CD-Version erweitert das Programm auf insgesamt 13 Tracks und bietet zusätzliche Remixe. Darunter befinden sich eine Neuinterpretation des neuen Tracks „#US“ von SILVERWINGKILLER, ein Algorithm-Remix des Fan-Favoriten „Allgorhythm“ sowie eine Bonusversion von „Love Machine“ von The Lincolnshire Poacher.

Während MUSICK maximalistischen, hochenergetischen Pop als Spiegel unserer reizüberfluteten und durch KI zunehmend verzerrten Medienlandschaft inszenierte, führt ENCORE diesen Ansatz konsequent weiter. Die ursprünglichen Tracks werden zerlegt, verfremdet und neu zusammengesetzt – von pulsierendem Elektropop über verschobene Eurodance-Ausflüge bis hin zu allem, was dazwischen noch eigenwilliger und unerwarteter wird.

What's Left is the new album by Tom Henry, releasing November 20th, 2026 on Royal Oakie Records. Where his debut album Songs to Sing and Dance To leaned into big dreams, What's Left is a record about what remains once the dust settles, delivered with the wit and charm of a young rocker in his prime. The familiar influences are still there — Paul McCartney and Big Star loom large (though there's a little more Third/Sister Lovers this time around), but now the songs are lush and polished, with new sounds creeping in around Henry’s trademark power pop hooks. On a handful of tracks you can even hear strains of Syd Barrett influenced acid-folk alongside psychedelic rock that recalls The Brian Jonestown Massacre or The Beatles at their most lysergic.

Produced in collaboration with David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain), and engineered by Glasebrook and Stephen Shirk, the album was tracked across two cities at Shirk Studios in Chicago, IL and The Garden Shed in Oakland, CA, where Glasebrook also handled mixing and mastering. The record's cross-continental origins reflect the movements of Tom’s own life over the past half decade, which found him departing his native Chicago for Los Angeles before returning home four years later, and lend the album its distinctive sound of Midwestern grit mixed with California sunshine across all twelve tracks.

Opener "Someone I Need" sets the tone: an old-fashioned, up-beat rocker built for a roadside diner jukebox somewhere out along the backroads of your mind — it's crunchy tape tones and horn arrangement lending warmth to the song as the narrator asks for a dance and beckons the listener along for the ride. By "It's Not Meant to Be," the record turns inward, wrestling with the exhaustion of trying to find love in the modern age — especially for someone who wears their heart on their sleeve and often comes to find their suitor's wardrobe doesn't have room. "Silverlake Song," reminiscent of early Donovan, kicks off with otherworldly sitar — a wry postcard from the west, tracing how the shimmering promise of L.A.'s Silver Lake enchants, bargains with, and ultimately tries to ruin the starry-eyed dreamer — and very nearly succeeds.

In addition to Tom–who sang and played guitar, bass, and keys–the album features musical contributions from co-producer David Glasebrook, Brian Daley, Joe Daley, Finn Swingley, Lewis Patzner, and labelmates Graham Patzner, Charles Lloyd, and Simon Beins. Liner notes come courtesy of Ian F. Svenonius, who — in the guise of one Johnny Sincere of Integrated Star Management Ltd. — recounts his company's failed attempt to sell Tom Henry a gimmick: a space suit, a coal miner's neckerchief, a lounge pianist's dead-eyed shades. Tom turned them all down. As Svenonius tells it, when reminded that every story's been told and every gimmick's been used, that all that's left is to admire the photographs of what's gone before, Tom simply shrugged: rock 'n' roll is an eternal spring, and if this is what's left, that's just fine with him — it's what he likes to do.

Alan Vegas ,Live at Max's Kansas City" fängt einen der furchtlosesten Innovatoren und Visionäre der Musikszene in voller kreativer Kraft ein und verwandelt diesen Punk- Club, eines der kultigsten kulturellen Wahrzeichen New York Citys, in ein Theater aus roher Performance, klanglichen Experimenten und kompromisslosem künstlerischem Ausdruck. Aufgenommen am 18. Juli 1980, nur wenige Wochen vor der Veröffentlichung seines bahnbrechenden selbstbetitelten Solo-Debüts, zeigt der Auftritt Vega an einem entscheidenden Punkt in seiner Karriere, an dem er eine einzigartige künstlerische Sprache entwickelt, in der Rockabilly, Blues, elektronischer Noise und Performancekunst mit elektrisierender Intensität zusammenfließen. Auf sieben Titeln wird Vega von dem jungen texanischen Gitarristen Phil Hawk begleitet, dessen messerscharfe Gitarrenarbeit sich mit Vegas Tonbandmanipulationen und experimentellen Klängen verflechtet, um seine kompromisslose klangliche Vision zu verstärken. Eher vom Instinkt als von Konventionen getrieben, fängt das Album die Kollision von Rockabilly und Blues mit elektronischen Experimenten, unerbittlicher Energie und der radikalen künstlerischen Freiheit ein, die Vegas Karriere prägten. ,Live at Max's Kansas City" ist ein lebendiges Dokument davon, wie Alan Vega am Beginn seiner Solokarriere stand - mit dem unerschütterlichen Engagement seiner kreativen Kräfte. Jeder Schrei, jeder Pfiff und jeder Ausbruch des Publikums wird Teil der Performance selbst und bewahrt den explosiven Austausch zwischen Künstler und Publikum, der Vegas einzigartige Bühnenpräsenz ausmachte. Entdeckt von Liz Lamere und Jared Artaud im Alan-Vega-Archiv, dem ,Vega Vault", wurde ,Live at Max's Kansas City" von Josh Bonati aus den Original-Live-Aufnahmen remastert, wobei die Bänder von Ted Young übertragen wurden. Diese historische Performance, die ein weiteres bisher unbekanntes Kapitel aus dem ,Vega Vault" enthüllt, ist zum ersten Mal auf Streaming-Plattformen und auf Vinyl erhältlich .

On Expensive Shit, Fela chronicles a failed attempt to imprison him for possession of weed in 1974. At this time, Nigeria was under a military dictatorship that had declared a war on indecency. Fela’s insubordination infuriated the government, and they repeatedly raided his compound, Kalakuta.

During one of the raids, an officer produced a joint from his own pocket and attempted to plant it on Fela, which Fela then swallowed. He was immediately taken to prison, where the police waited three days for him to “produce” an incriminating sample. When the time came, police took Fela’s sample for analysis and found nothing. Each night, Fela and his cellmates had swapped their slop buckets around, allowing Fela to relieve himself without the authorities realizing it. By the time of the public shit, there was no marijuana left in his system. The police had no choice but to let him go.

This 50th Anniversary edition is pressed on gold nugget vinyl, packaged in a trifold jacket that features elements of the original vinyl packaging alongside newly licensed images, a dossier envelope with poster, print, and newspaper clipping, wrapped with a metallic gold foil band.

2026 Repress

Coming in hot on Berlin's Toy Tonics label: a new EP by the talented duo ALMA NEGRA!

Founded in 2013, Alma Negra is a Swiss collective centered around the brother duo Dersu and Diego Figueira, whose diverse roots in Switzerland and Cape Verde inform their sound. The project was launched with the ambitious vision to explore the world's diverse rhythms and drive musical innovation by mixing different styles. Their work is anchored in a process of digging and sampling, skillfully blending traditional sounds-from Fela Kuti-influenced Nigerian afrobeat and Angolan Lamento to Caribbean Zouk and the Maloya sound of Réunion-into a contemporary dance music context.

The Figueira brothers' eclectic DJ sets embody this ethos, peppering disco and house with salsa, samba, jazz, and Afro-Caribbean carnival rhythms, all under their guiding motto: "As long as it's Funky."

Since 2014, Alma Negra has made an important contribution to intercultural exchange in their hometown of Basel. Their international presence began in 2015 with their first shows abroad in countries like France, the Netherlands, and Portugal. From 2016 to 2019, their reach expanded significantly, with performances in major hubs like London, Paris, and Berlin, as well as Istanbul, Tel Aviv, and Tunisia. Highlights from this period include sets at the Montreux Jazz Festival, Dimensions Croatia, and Fuse Club in Brussels. Their standing is further cemented by releases on respected labels like Heist Recordings, Sofrito, and Basic Fingers, alongside remixes from an elite group of peers, including Soulphiction, Kuniyuki, and Yuksek.

Parallel to their studio and DJ work, the project expanded into the Alma Negra Live Band, formed with jazz musicians from Basel. While the band is currently on hiatus, this collaboration made live instrumentation increasingly central to their productions, creating a dynamic they feel is essential for any dancefloor. The live band has performed in cities like London and Hamburg and has led to collaborations with artists such as French singer Pat Kalla and jazz trumpeter Bodo Maier.

Atlantic Records and Rockstar Games announce Grand Theft Auto VI: The Album, the upcoming official soundtrack album from the biggest, most immersive evolution of the groundbreaking Grand Theft Auto series yet; Grand Theft Auto VI.

Launching alongside the hotly anticipated game, Grand Theft Auto VI: The Album features 34 original tracks that capture the electric energy of GTA 6’s world of Vice City and Leonida, with a genre-defying roster of the most exciting and preeminent artists in the world.

With 34 original tracks that capture the electric energy of Grand Theft Auto VI’s world of Vice City and Leonida, Grand Theft Auto VI: The Album features a genre-defying roster of the most exciting artists in the world.

“IRIE” is where the Paris-based artist Yasmin Regisford's next era begins. Built on echoes of reggae vocals, warm low-end pressure and slow-building psychedelic tension, the track blurs nostalgia and euphoria until they become impossible to tell apart. More than a collision of genres, “IRIE” is about coexistence: different influences and origins moving together without losing themselves. It mirrors Regisford’s own relationship to cultural hybridity — existing between worlds, and feeling fully at home inside the blend. The single sets the tone for Zentraï, a four-track EP that unfolds like a shifting ritual — morphing between groove-led hypnosis, psy-infused tension and percussion rooted in movement and memory. Across the EP, Yasmin Regisford maps a world where rhythms, textures and identities intertwine: fluid, layered and constantly evolving.

5 track LP

Follow-up to 2025's “i was put on this earth” (“a triumph of gentle reverie and quiet upheaval” - Pitchfork). DJ Python’s music has always occupied the interesting space in between - reggaeton's low pulse, ambient's patience, deep house's forward motion, the abstracted sounds of trip-hop, shoegaze, and pop - and this new EP finds him stretching that even further. A companion to “i was put on this earth”, the new EP shares that project's creative DNA while pulling in its own direction.

DJ Python (aka Brian Piñeyro) steps more fully into the role of singer and songwriter, sharing the mic across a set of collaborators including Ari, Tony Bontana, and Eden, while still carving out room for hypnotic solo songs.

Across five tracks, the project moves fluidly while retaining the captivating melodies, atmospheric textures, and rhythmic innovation that defined Python's earlier recordings - Mas Amable, Angel, and Club Sentimientos Vol 2 - expanding those sounds into something looser, warmer, and harder to categorise.

St. Panther is the recording project of Dani Bojorges-Giraldo (they/them), a Mexican/Colombian artist, producer, singer, rapper, and multi-instrumentalist living in East Los Angeles. On their full-length debut, East Side Love Story, they dedicate an effervescent, soulful set of love songs to the place they call home.
The project has developed over the past six years within the walls of their East Los Angeles apartment. Friends, lovers, sounds, and songs, the essence of the East Side pours through the windows as an endless stream of distinctly Latino taste. Chicano soul, Motown classics, G-funk anthems, and other feel-good oldies fill the air with warmth and romance. Everything imbues the timeless East Side Love Story, arriving in 2026 on the art-forward label drink sum wtr.

Music From Memory presents ‘Sleep Machines’, a new collaborative album from UK ambient pioneers O Yuki Conjugate and German producer and DJ Philipp Otterbach.

Formed in Nottingham in 1982, O Yuki Conjugate have spent more than four decades developing a singular approach to what they now describe as ‘dirty ambient’. Emerging from the post-punk DIY scene and drawing early inspiration from artists including Cabaret Voltaire, The Durutti Column and Jon Hassell, the group gradually carved out a space between post-industrial electronics, ambient music and Fourth World experimentation. Centred today around founding members Roger Horberry and Andrew Hulme, their work has retained an outsider sensibility throughout its many periods of activity and hibernation.

Philipp Otterbach approaches music from an equally open-ended perspective. As a producer, collector and DJ, his work moves freely between drone, dub, techno, house and electronics. His sets and productions share a fascination with unexpected connections, allowing disparate sounds to drift into one another through intuition rather than fixed genre boundaries.

‘Sleep Machines’ began with a chance meeting at The Gun on Well St. in London. Otterbach asked, “Would you be interested in doing a collaboration?”

“A collaboration? Sorry, we don't do collaborations,” came the reply.

“But wouldn’t it be fun?”

“We don't do fun either.”

Despite themselves, O Yuki Conjugate tentatively sent over an initial track. An avalanche of ideas quickly came back, and what began as an unlikely proposal developed into 18 months of recording, file-swapping, mixing and repeated reworking between the UK and Germany.

Produced by Otterbach, the resulting ten tracks bring together recognisable elements of both sides while gradually dissolving the lines between them. O Yuki Conjugate’s hazy atmospheres, dubwise spaces and tactile rhythms meet Otterbach’s instinct for strange detail, low-slung electronics and shifting forms. Rather than functioning as a collection of separate pieces, the album moves without gaps, unfolding as a single continuous work in which one environment slowly slips into the next.

‘Sleep Machines’ is both O Yuki Conjugate’s first collaborative album and an unlikely meeting point between two generations of musicians whose work has consistently existed at the edges of established forms.

Andreas Tilliander released »Ljud« in 2001 as the first full-length album under his real name. The year before, the Swedish producer’s »Cliphop« album under his Mokira moniker had established him in the world of adventurous electronic music and the clicks’n’cuts scene. »Ljud« was just as minimalistic, warm, and playful as its predecessor while also notably inspired by house music. It is a timeless record based on happy accidents, playful loops, and lively spontaneity. For its 25th anniversary, Keplar presents a vinyl reissue with adjusted artwork by graphic designer Marc Hohmann and updated mastering by the artist himself.

Tilliander laid the foundation for his two first albums when he got rid of most of his music gear in 1998 after meeting Joel Brindefalk, who was already releasing music on the legendary Börft label. Brindefalk was using a computer as his main instrument and introduced Tilliander to the audio editing suite Sonic Foundry Sound Forge. »What he did with that software is what made me sell most of the hardware except my Nord Modular and a Korg MS-20.« The former synthesizer played an integral role while Tilliander made the tracks for »Ljud,« working primarily in the modular studio environment Jeskola Buzz.

»Ljud« came together in an intuitive process. »It’s still how I work 25 years later: I first make loops, create bits and pieces, and build up my own sound library as a foundation,« Tilliander explains. The Nord Modular and Buzz, which allowed him to swap samples and produce new sounds out of pre-existing ones, provided him with material for loops that formed the basis of the ten tracks. »I would start with a few elements, add more into the mix, then take them out again—arranging the pieces in real time while recording.« The casualness and vivacity of this improvisational approach becomes tangible throughout »Ljud.«

»Ljud« was released on Achim Szepanski’s Mille Plateaux, which had published the seminal »Clicks+Cuts« compilation in 2000. »I was part of that scene and I liked the digital aesthetic of the label,« says Tilliander »Coming from a very analogue setup, working with computer music and this kind of minimalism was very inspiring.« When preparing »Ljud« for the Keplar reissue, he ran the music through an analogue outboard and noticed he was still happy with the way it sounded. »It brought back fond memories. I hope the same is true for people who heard it back then, and that everyone who discovers it now will enjoy it, too!«

Originally unleashed in 2014, Watchers of Rule stands as one of the most aggressive, intense, and relentless entries in Unearth's catalog.

Delinquent Habits is the self-titled debut album of the Chicano hip-hop group that was formed in Los Angeles in 1991. As a group they got widespread attention with their, both melodic and hardcore, Latin-tinged rap. For the album they got help from Sen Dog, known from the very popular hip hop group Cypress Hill. He was the executive producer and also made a guest appearance on "Underground Connection".

The group was one of the biggest breakthrough acts of 1996. It started with the single "Tres Delinquentes" that attracted much attention and sold over one million copies. The album followed quickly and was equally successful by reaching the Billboard Top 200. The genre gained a new classic!

Delinquent Habits is available as a 30th anniversary edition of 2000 individually numbered copies on blue and white vinyl.

Die Band ,The Holy Kiss" aus San Francisco erhebt sich aus dem Grab, um ihre letzte Aufnahme erstmals auf Vinyl zu veröffentlichen. Aufgenommen im Jahr 2009 von Skot Brown (The Phantom Limbs, Altar de Fey) und zuvor auf 50 handgefertigten CD-Rs veröffentlicht, ist ,Gunslinger" ein raues Meisterwerk aus der Blütezeit von The Holy Kiss mit vier Songs, die feurigen Blues mit Blut, Schweiß und einer kräftigen Prise The Birthday Party vermischen. Der Titeltrack der 12", ,Gunslinger", ist ein Cover eines Bo-Diddley-Songs, den die Band so arrangiert hat, dass er ihrem Hang zur melodischen Kakophonie entspricht. Frontmann Matty Rue Morgue singt mit dunkler Sonnenbrille aus tiefster Seele, während ,Schlagzeuger Nick Ott wie ein Riese über einem elfenhaften Schlagzeug thront und die Felle so fieberhaft bearbeitet, dass er eine Selbstentzündung riskiert" (Tatiana Simonian, L.A. Weekly). Das im Jahr 2000 offiziell gegründete, von schwarzem Humor geprägte, altmodische und gut gekleidete Quartett ,erzeugt einen dunklen und auf süße Weise dissonanten Krach, der an Mordballaden erinnert und perfekt dazu geeignet ist, die im Limbus schwebenden Geister der Betrüger, Verrückten, Säufer und anderer gesellschaftlicher Ausgestoßener heraufzubeschwören, über die die Band gerne in ihren schattenhaften, Dickens'schen Liedchen" (Bill Picture, San Francisco Chronicle). Die Veröffentlichung von The Gunslinger enthält außerdem eine Bonus-7"-Single mit Solo-Aufnahmen, die Matty Rue Morgue 2009 gemacht hat - nur wenige Jahre vor seinem viel zu frühen Tod im Jahr 2015. Darauf sind zwei Songs von Matty und ein Song von The Holy Kiss (,Go Head N Count `Em"), die für Solo-Akustikgitarre neu arrangiert wurden. In seiner Version von ,Go Head N Count `Em", gespielt mit Liebe und tiefem Respekt vor der Blues-Tradition, lässt sich Matty gleichermaßen von Lightnin' Hopkins und Lux Interior inspirieren.

To celebrate 30 years since its original release, Boards of Canada’s Hi Scores returns in a new edition on Warp Records.

Originally released on Skam Records in 1996, Hi Scores was Boards of Canada’s first widely available release. The six-track release features some of the duo’s most enduring pieces, including “Turquoise Hexagon Sun” and “Everything You Do Is A Balloon”.

For its 30th anniversary, Hi Scores is being reissued by Warp, marking the first time their whole catalogue has been widely available on vinyl at the same time. Hi Scores has not been available on vinyl since 2014 and is newly packaged in a gatefold 12" sleeve, with four 12"×12" prints.

Anlässlich des 30-jährigen Jubiläums erscheint "Hi Scores" von Boards Of Canada als Neuauflage bei Warp Records. Ursprünglich 1996 bei Skam Records veröffentlicht, war "Hi Scores" der erste breit verfügbare Release des Duos. Die 6-Track-EP enthält einige ihrer zeitlosesten Titel wie "Turquoise Hexagon Sun" und "Everything You Do Is A Balloon". Damit ist der gesamte BOC-Vinylkatalog erstmals gleichzeitig und flächendeckend erhältlich.

The reissue follows the release of Inferno in May 2026, Boards of Canada’s first new album in 13 years.

Tracklist:
A1. Hi Scores
A2. Turquoise Hexagon Sun
A3. Nlogax
B1. June 9th
B2. Seeya Later
B3. Everything You Do Is A Balloon