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Ltd pressing, Widespine, black paper inners.

Tectonic Recordings presents Tectonic Sound: Vol. 2, the second instalment of the various artists series curated by label founder Pinch. Following the first Tectonic Sound collection, released in 2025 to mark the twentieth anniversary of the label, the series continues Tectonic’s forward-facing approach; bringing together artists from their wider family and connecting dots across the underground.
Longstanding figures of the UK Bass scene such as J:Kenzo and Roska sit alongside a new gen of artists including Ehua, Manami, Cimm, Denham Audio, Henry Greenleaf and SHXCXCHCXSH. Beatrice M. also returns following the release of their acclaimed debut album Sinking earlier this year, while Jay Carder and Sir Hiss make their first outings as solo artists on the label, after both appearing as collaborators on Sinking.
Pinch says: ““As Tectonic enters its third decade, the spirit and passion behind the music hold true to its roots. I love every single track on this compilation and how it shows off the various corners of the label's sound. Each artist has delivered something truly special!”
Each artist arrives with a distinct sound and history of their own, but across these twelve original tracks there’s a shared understanding of what Tectonic represents. Different strains of the UK bass continuum come together, creating a space where sounds collide, and new forms take shape. 
Pinch leads the charge with ‘Hold On!’, an upfront, high-definition 4x4 propulsion tool that pairs rolling momentum with seismic bass pulses. Manami enters with ‘Turning Point’, further solidifying her newer direction, leaning into deep, dubbed-out territory with a sound that feels both vast and exploratory, while remaining heads-down and locked in. Henry Greenleaf steps in with ‘Whist’, an ominous and otherworldly offering, reminiscent of early dubstep productions that fell somewhere between the lines of dark garage, 2-step and grime.
Elsewhere, SHXCXCHCXSH’s ‘NexxxD’ and Sir Hiss’s ‘2TUFF’ form a middle climatic point of pure chaos, with Sir Hiss serving up a raw slab of gnarled grime waveforms and cascading claps. Beatrice M. & Cimm bring things back down with ‘Pad City’, a cool, meandering cut of shuffling house, while Lorem closes the compilation with ‘Console Corners’, exploring the outer rims of sound manipulation and deconstruction before tying it all together.
Since its formation in 2005, Tectonic has been a trailblazing force in electronic music, helping to define and continually redraw the boundaries of dubstep and its surrounding sounds. The compilation arrives in the middle of a serious run for the label. Earlier this year, Tectonic released Beatrice M.’s debut album Sinking, a major moment for the label that was embraced across the electronic music community. Pinch has also continued his long-running creative relationship with legendary grime MC Trim this year, following their joint 2025 EP No Caller ID, with recent single Striker.
Across Tectonic Sound Vol. 2, those different strands of Tectonic’s history and present day meet head-on. The music moves between familiar forms and stranger territory, with rhythms and frequencies refracting across the collection. It’s a record that feels cohesive without being uniform, reflecting a label whose sound has always been defined by forward movement.

Siân Pottok is a citizen of the world.


Born in West Palm Beach, Florida, to a mother of Indian and Congolese heritage and a father of Slovak and Belgian descent, Siân grew up between Belgium and New York before finally letting her travelling wings come to rest in Paris. What could have become a story of fragmentation instead became a source of creative strength. Singer, songwriter, composer and photographer, Siân has always turned borders into bridges.


She first honed her voice in the jazz clubs of Paris and New York, performing alongside renowned artists such as Richard Bona, Jon Batiste and Mike Stern. Yet her path has always extended far beyond the stage. For nearly a decade, she led cultural initiatives with women and children living through exile, violence and poverty across India and Southern Africa, weaving together music, photography and artistic transmission as tools for dialogue and empowerment.
The true turning point came when she discovered the kamele ngoni, the West African harp whose ethereal sound seemed to echo something long buried within her. The instrument became her musical alter ego—the invisible thread binding together her many inheritances. Guided by Malian master Abou Diarra, Siân embarked on an inward journey towards her African roots. Yet this return to her origins was never an act of retreat into identity. Instead, it gave rise to a body of work that remains profoundly open to the world, where Africa enters into conversation with jazz, folk, soul, alternative pop and the rhythms of Brazil.
Along the way, she has crossed paths with remarkable artists including Rogê, Chico César, Fatoumata Diawara, Lokua Kanza, Flavia Coelho, Thomas de Pourquery and Philippe Baden Powell. On stage and in the studio, Siân continues to shape a musical universe that refuses labels. Like artists such as Björk, Joni Mitchell and Laura Mvula, she moves forward as an explorer, guided not by genre but by intuition.


Today, Siân stands as one of the most distinctive voices of the new Francophone music scene an artist capable of uniting musical sophistication with emotional power, introspection with collective celebration, depth with an irresistible urge to dance.


Animal — The New Album


With Animal, produced by British musician Tom Excell (Nubiyan Twist, Africa Express...), Siân delivers her most intimate and assured work to date. Every song feels like a shedding of skin, a quiet metamorphosis, exploring self-acceptance, femininity, the freedom to be oneself, cultural heritage, and the reconciliation of one's own imperfections.
From Stereotype, a fearless manifesto against the expectations imposed on women, to the title track Animal, an anthem celebrating the beauty of imperfection ("I've turned my cracks into a crown"), the album gives a voice to everyone who refuses to fit into predefined boxes. In Terre, je danse sur toi, featuring Fatoumata Diawara, Siân pays tribute to Mother Earth and to the roots that unite us all. Oh! Congo, recorded with Lokua Kanza, reconciles her cultural heritage with an ancestral homeland that feels both distant and intimately familiar. En équilibre, with Flavia Coelho, embraces the exhilaration of risk and the courage to leap, while Put a Mask and I Could Kill confront hidden wounds and the invisible violences that quietly shape who we become.
In ADé, Siân addresses Adenomyosis as though speaking to an unwanted housemate. "My body is your battlefield," she sings, giving voice to an intimate shadow lodged deep within herself. This bittersweet lullaby transforms a pain so often left unspoken into an act of profound tenderness towards oneself.
The album also holds a rare treasure: Reste tel(le), an unpublished text by Pierre Barouh, the founder of the Saravah label. Never before set to music or performed, this elusive poem of free love finds new life through Siân's voice, becoming a dialogue across time between two artists united by the same devotion to freedom, métissage and openness to the world.
Driven by Tom Excell's vibrant Afro-pop pulse, the spiritual breath of the kamele ngoni, organic arrangements and deeply personal songwriting, Animal is an album of liberation. It invites us to lay down our masks, embrace our contradictions and reconnect with the free, instinctive and powerful animal that lies dormant within us all. More than a collection of songs, it is a radiant manifesto for the richness of identity, the passing on of memory, and reconciliation with oneself.
Animal is not simply the title of an album, it is a declaration of independence. An invitation to live fully, unapologetically, and without instructions.
A citizen of the world, travelling freely between continents, languages and memories, Siân Pottok delivers with Animal her most personal, and perhaps her most universal work to date: an album that reminds us that our fragilities, our roots and our differences are, beyond doubt, our greatest strength.
— Christophe Tison

The Swedish dream-pop masterpiece returns to vinyl - introducing the 20th Anniversary Edition of The Radio Dept.’s Pet Grief.


"In the right mood, there is something shy and lovely about Pet Grief, ghosts of the C86 sound that make you want to grab a cardigan and sway." – The Guardian

"Melodies so easy to fall for; they barely feel like effort." - Pitchfork

"A rich, evocative mood piece, still eminently worth hearing.” - Allmusic

"Atrocity Exhibition" ist der neueste Höhepunkt in einer langen Serie von Highlights: Im Verlauf der letzten Jahre hat Danny Brown mit vielen hochkarätigen Künstlern von Purity Ring bis Rustie, von ScHoolboy Q via E-40 bis hin zu Ghostaface Killah gearbeitet. Für den Posse-Track "Detroit vs. Everybody" tat er sich mit Eminem, Dej Loaf, Royce da 5'9', Big Sean und Trick Trick zusammen, und auch den legendären The Avalanches lieh er für ihr Comebackalbum dieses Jahr seine Stimme. Da er auf "Atrocity Exhibition" kein Blatt vor den Mund nimmt und gewissermaßen die hochprozentige Essenz seines kreativen Ansatzes herausdestilliert, hat Danny auch die Wahl der Gäste ganz genau darauf abgestimmt: Ihren schlangenhaften Gesang steuert Kelela im Fall des wahnsinnig finsteren "From The Ground" bei, mit B-Real von Cypress Hill ist ein alter Hanf-Fachmann für die tiefentspannte Hook von "Get Hi" verantwortlich, und mit Earl Sweatshirt, Kendrick Lamar und Ab-Soul treten gleich drei junge Hochkaräter für das ominös schillernde "Really Doe" zu ihm ans Mikrofon, die er derzeit für die besten Rapper hält, die es momentan gibt.

What makes a life well lived? Career, home, savings, family: these are the milestones that make adulthood legible as success. Friendship, meanwhile, is often treated as something that either endures or doesn’t, more a matter of luck than a relationship requiring its own devotion, maintenance, and care. When really, as the world becomes more isolated and artificial by the day, friendships may be the most important thing a person ever builds.


“A lot of times in life I feel like a late bloomer, like I'm still trying to get my shit together in a way that other people have already figured out,” says Chastity Belt drummer/vocalist Gretchen Grimm. “But then I reflect on my adulthood, and my top priority has largely been my friends, which I do not regret at all.” That priority feels like the guiding principle on the band’s sixth album, All My Friends. Not that they set out to make an album about friendship—during mixing the band's longtime collaborator and engineer, Samur Khouja, pointed out that a lot of the songs referenced the subject. Which makes a lot of sense.


Julia Shapiro (guitar/vocals), Lydia Lund (guitar/vocals), Hunter Truscott (bass/vocals), and Grimm have been making music together for 15 years. Friendship has sustained the Chastity Belt project as its members have grown alongside one another, both as people and as musicians. Across a resonant catalog, they’ve moved from the raucous wit of their early records toward the lush, introspective moods they’ve refined on each album since via trademark intertwining guitars, meticulous rhythms, and double exposure of melancholy and optimism.


All My Friends comprises songs recorded across multiple years, time zones, and studios, including Seahorse Sound in LA, Way Out in Woodinville, and a centuries-old house on the Greek island of Hydra. The oldest track dates back to around 2018; the newest were finished within the past year. These days, the band spans three cities (Los Angeles, Seattle, and Chicago); less writing/rehearsal time means songs are often worked out in the studio, relying on the spontaneity and instinct that comes from knowing one another so well. The result is rawer and less polished than their last couple of records, closer in spirit to the band’s roots.

This November, Brownswood Recordings will release Mek Do & Mend, the debut album from self-taught producer, multi-instrumentalist, composer and artist Wonky Logic. Although his name may not yet be familiar to everyone, Wonky Logic (AKA Dwayne Kilvington) has spent the past two decades quietly becoming one of the UK's most respected musical collaborators. His career has moved comfortably between London's jazz, electronic and contemporary music scenes, performing and recording with artists including Nala Sinephro, Yussef Dayes, Nightmares On Wax, Shabaka Hutchings and Emma-Jean Thackray. Alongside his work as a producer and composer, he's been musical director for projects with Eddie Chacon, John Carroll Kirby and I.G Culture's LCSM, scored the feature documentary Zandra With A Zed, contributed music to A24's The Smashing Machine, and continues to lead music workshops with young people, refugees and people experiencing incarceration.

Far more than a collection of compositions, Mek Do & Mend is a deeply personal reflection on the people, places and experiences that have shaped Kilvington throughout his life. It's the story of growing up on a Leeds council estate, where music became both a creative outlet and a way of understanding the world. Making music often meant working with whatever was available: a second-hand keyboard, a makeshift studio desk or ageing equipment that simply had to last a little longer. The title itself came from a conversation with his mother, capturing the resourcefulness that defined his upbringing and continued into the making of the album itself, which was written and produced to a tight deadline around touring, family life and Kilvington's work as a musician and educator.

Built from material spanning more than fifteen years, Mek Do & Mend brings together some of Wonky Logic's earliest compositions alongside brand new pieces written during the making of the record itself. Childhood ideas sit alongside music conceived only months before recording, creating an album that draws together a lifetime of writing rather than documenting a single moment. Running throughout are voice notes from family members, teachers, friends, mentors and collaborators—not simply as interludes, but as a reminder that no creative life is ever self-made. Rather than telling his own story outright, Kilvington invites listeners to discover him through the people who've shaped him: an aunt remembering him playing in church as a child, lifelong friends recalling early experiments making beats together, fellow musicians from different stages of his career and his mother describing him in her own words. Together they reveal the invisible network of relationships, philosophies, communities and experiences behind the music. "The album exists somewhere between being a biography and an autobiography," says Dwayne. "The biography is in the voice notes and how other people see me. The autobiography is in the music."

That same philosophy extends to the musicians who appear on the record. Every contributor has played a meaningful role in Wonky Logic's life beyond the studio. Long-time collaborator Luke Wynter, Steam Down drummer Benji Appiah, partner Vanessa Rani, Jonathan Enser, Joe Bristow, Brother Portrait and Nubiya Imani all feature not simply because of their musicianship, but because they form part of the album's story.

Across its fourteen tracks, Mek Do & Mend moves effortlessly between dynamic jazz arrangements, pulsating broken rhythms, delicate, twinkling piano passages, interstellar synth textures and elegant brass lines. Album opener and first single 'Strange Attractor' begins with a shimmering introduction before unfolding into an exhilarating surge of rhythm and momentum. Named after the mathematical concept of the same name, it serves as the conceptual point of origin for the album. Written when Kilvington was just seventeen, the composition reflects the idea that even the most unpredictable lives are guided by hidden patterns that often only become visible with time. Second single 'A Thousand Hands' features the unmistakable vocal tones of Brother Portrait, whose cerebral lyricism drifts over a low-slung, constantly shifting groove as woozy synth lines ebb and flow overhead. At its heart, the track celebrates the family, friends, mentors and collaborators whose often unseen influence shapes who we become, echoing the album's belief that every achievement is, in some way, a collective one. LP focus track 'BAME (Beyond All Marginalised Expectations)' is a lush, spiralling composition, brimming with both emotion and resolve. Reclaiming an acronym long imposed on racialised communities in the UK, the piece transforms it into a statement of possibility rather than limitation: a defiant rejection of stereotypes and a refusal to let identity be defined by other people's expectations.

The album itself only exists because other people believed in it. Isabel Gracefield made the RAK sessions possible, Rick David brought the record together with his characteristically thoughtful mix, and Gilles Peterson committed to releasing it on Brownswood before hearing any of the music. Away from the stage, Kilvington works with the charity Finding Rhythms, writing and producing original records with people experiencing incarceration, while also leading workshops with Arts Train and Dovetail Orchestra.

Recorded live in a single day in Studio One at RAK, Mek Do & Mend was mixed by Rick David through an analogue Cadac console before being mastered by Stuart Hawkes at Metropolis. The aim wasn't nostalgia or audiophile perfection, but to create a record people could return to throughout their lives, discovering something new with each listen.

As Dwayne puts it: "I don't want this body of work to be reduced to a jazz record. It's more like a novel about life told through music."

The 2013 action-adventure game The Last Of Us was originally published in 2013 by Sony Computer Entertainment and was developed by Naughty Dog. The game is played in a third-person perspective and the player controls Joel, a smuggler who is escorting the teenager Ellie across a post-apocalyptic America. The game received critical acclaim, with praise for its narrative, gameplay, visuals, sound design, characterization, depiction of female characters. The Last Of Us became one of the best-selling video games, selling over 1.3 million units in its first week. The game won multiple Game of the Year awards and has been cited as one of the greatest video games ever made.

The Last Of Us also received acclaim for its score, which was made by composer Gustavo Santaolalla. Santaolalla is also known for his work on Brokeback Mountain and Babel, for which he both won the Academy Award for Best Original Score. The Argentinian composer also created the music for the series Jane The Virgin and Netflix’ Making A Murderer. His soundtrack to The Last Of Us was his first in the video game industry. In 2020, he also returned to compose the music to the sequel, The Last Of Us Part II.

The soundtrack of The Last Of Us: Season 1 is available as a limited edition of 4000 individually numbered copies on yellow marble vinyl. This 2LP is packaged in a deluxe gatefold sleeve with linen laminate finish. It includes printed innersleeves and an 8-page booklet with liner notes by writer and creative director Neil Druckmann.

“Interpretation”
The act of explaining, reframing, or otherwise showing your own understanding of something. This captured me. We can all look at the same thing but what we see, hear or experience may differ. This word ended up being the title of my new album. I want to share my interpretation of music with listeners and take them on a musical journey. Through my music, I hope to bring about many interpretations. Your interpretation.

With great joy and pride we announce that The Night Service Commute second album Interpretation is a fact. The release is set for November 13th. You can expect cinematic vibes driven by breakbeats, bass, rhodes, violin, poetry, trumpet and field recordings. This turned out fantastic, and gave the album the groove, feel and vibe I was looking for. During the making, It was so great to learn how to capture the sound and get it to sit well in the mix.

The cover was made by my dear friend Saša Ostoja. His illustrations resonate greatly with me and put a smile on my face. The setting of the cover artwork is urban with hints of forest. Behind the windows, you can see the characters playing music and doing studio stuff. It has loads of hidden jokes and details. I can look at it again and again and discover new things every time.

Mr Bongo proudly presents a first-time worldwide vinyl and CD issue of Rubel’s debut album Pearl. Self-released on YouTube in 2013, the album quietly became a huge hit in Brazil with the lead single and accompanying video for ‘Quando Bate Aquela Saudade’ amassing over 85 million views to date. Pearl laid the foundations for Rubel’s path to greatness - a first glimpse into the brilliance of a modern-day troubadour and ever-evolving Brazilian artist who deftly mixes classic and contemporary influences. Fusing MPB, folk, pop, and indie, it charts Rubel at his purest and most personal.

The journey of Pearl begins with Rubel in his early 20’s studying film in Austin, Texas. Immersing himself in the city’s vibrant DIY music scene and surrounded by countless musicians who he shared a large house with, he set up a home studio with an assortment of rented gear and recorded the album without any expectations. It was inspired by an environment of youth, music and experimentation Rubel found himself within. The seven songs are an attempt to record and take with him a little of what he lived and learned whilst there. He uploaded the album to YouTube, didn’t think much of it and continued to pursue a career in film in LA. Over the next few years however it became a viral hit in Brazil, with a subsequent Brazil only vinyl and CD issue, drawing him both back to Rio and a trajectory to musical stardom.

After a brief hiatus and creative refresh, Radiant Records returns with a bang, courtesy of Belfast house aficionado Cromby. A producer who needs little introduction, Cromby delivers the label’s ninth release, showcasing exactly what he does best: colourful, groove-heavy house music built for the dancefloor.
Ignition kicks things off with winks and nods to post-Y2K UK breaks and electro house. The title track’s boshy bassline and driving drums provide the backbone for an irresistibly stomping peak-time cut with summer written all over it.

Pumping the tempo up, A2 Psy Op is a rapturous floor-filler that draws from dance music’s most playful corners without ever sounding pastiche or revisionist. Undulating basslines, infectious vocals and flirtatious synth hooks combine to create something that feels both nostalgic and strikingly fresh.
Taking things in a slightly toolier direction, B1 Money is classic Cromby. A nifty little dinger packed with razor-sharp percussion, “house” vocals, tightly wound subs, timeless stabs and an impeccable arrangement, it’s a hot tip for DJs and dancers alike.

On remix duties, Adonis resident and legendary legend Hannah Holland zeroes in on Ignition’s electro parts and dials the mood up to 11. The result is a Detroit-leaning electro banger that highlights her versatility as a producer and rounds off a highly playable return to the fore from Radiant Records.

'Within the current Finnish jazz scene’s colourful embrace of ear pleasing and spiritual-leaning ensembles, Fågelbörs have felt a bit like an anomaly. They’re a lean quartet adhered to a virtuosic puritanism and a stern belief that every gesture serves the whole.
'A combo composed entirely of underground veterans, they belong to what could be described as the third wave of Finnish improvised music; several of whom helped shape that movement in the early 2000s. Elsewhere their collective lineage wends a bendy path through recent years of Finnish free jazz, experimental music, and dub. They’ve been alternately affiliated with projects such as Rauhan Orkersteri, Jooklo Quartet, Mohel, Kemialliset Ystävät, Odd Funk Records, Muumiot, Pascal & Baya Rays, and more.
'As Fågelbörs they’re configured like the four cardinal directions, a dynamic and cosmos-scaled unit capable of summoning elemental blasts of chaos and ecstatic, life-affirming joy. On Bagelfårs, they expand the unique vision of entropy and melody they introduced with their brilliant debut Marjassa (Ultraääni, 2022). Together, Matti Luokkanen (sax), Jaakko Tolvi (percussion), Tuure Tammi (trumpet), and Tero Kemppainen (bass) lock as an Aylerian helix, where effervescent free improv is always counterbalanced with key moments of gleeful, marching band-like reverie and mournful dissolves into passages of narcotic blues.'

DJ Linus came up with the basic idea for You Are House Music while DJing. He provided the vocals himself and refined them through numerous tests during his DJ residency at Munich's Pacha club. The track is a tribute to the party people and became the secret anthem of Pacha during its six-month production period. The vocals seem to work...

A.O.D.S. - DJ Linus' self-created genre: Adults Oriented Disco Soul. He organizes parties and plays vinyl records from 1975-1985, covering everything from AOR to soul and disco.

Senium refers to DJ Linus's newfound love for the chillwave/retrowave genre, for which he has acquired a small new record collection.
DJ Linus spent a whole year working on the EP, including relentless testing and sound adjustments. DJ Linus: “I am very happy with the result—thank you!”
By the way: DJ Linus released his first records on Compose, Compost's 90s house label.

About DJ Linus
DJ Linus is one of the very first House DJs in Munich and in Germany. He started way back end of the 80s, early 90s.
Linus is said to be a great influence to many a famous Tech House DJ today.
His solo album “Fantasmagorique“ was the first german House Music long player of its kind.
Linus was owner of two record shops and the famous “exun records“ label.
Nowadays he is resident at the incredible Pacha Munich – since 18 years now – and is running his current label “Sujet Musique” with great success since 2013.
Linus is also resident at the legendary “Palais Club” and the asian, high class restaurant “Izakaya“.
He works as a mastering engineer and as a lecturer for DJing and Producing @ Musicversity. DJ Linus won twice the Munich Night Life Award for best DJ “House/ Techno“ in 2013 and 2019.    


DJ Quotes:
“Loving the sound of You Are...! Just the kind of percussive, bassline-led house I love to play out!” – Jimpster
“Very nice!” - Fred Everything
“Tune(s)! Big up Linus.” - Bill Brewster
“Nice funky stuff.” – youANDme
“YOU are house music ! :-):-)” - Acid Pauli
“Enjoying the original You Are House Music track. ” - Josh Wink
“Beautiful!” – Reznik
“Mega EP” – Sandrino
“Really like all the tracks on this EP, Linus has been always special about his production work. Will play the tracks out for sure” - Kiko Navarro
“What a beauty!“ - Phuncadelica
Links:

Bonobo alias Simon Green returns with "Distance In Static", his new album, which will be released on September 11, 2026, by Ninja Tune.

On "Distance In Static", Bonobo collaborates with a characteristically impressive lineup of artists, including Arooj Aftab, Joy Crookes, Nilüfer Yanya, Ichiko Aoba, Nicole Miglis (Hundred Waters), and Aanya Martin. The lyrics are written in English, Urdu, and Japanese, while historical Iranian samples and guzheng recordings stand alongside Bonobo's carefully crafted instrumental sounds. These were created during recording sessions in Los Angeles, Tokyo, London, and beyond: a significant part of the album was completed at Neil Young's legendary Broken Arrow Ranch in California, where he had retreated for several weeks earlier this year.

The album's title - "Distance In Static" - aptly describes Bonobo's current situation: it evokes images of distorted transmissions and fleeting frequencies, memory fragments and glimmers of meaning that echo through more than two decades at the forefront of electronic music. He sees the traces of his work reflected in a younger generation rediscovering trip-hop, downtempo, and experimental electronic music of the 1990s from a contemporary perspective. "I think the beginning of my work is relevant to younger people today," he says. "I liked the idea of listening for a distant signal - finding something in the noise," he continues. The entire album conveys the feeling of a search for transcendence: music that hovers between intimacy and vastness, the familiar and the unknown.

Within the universe of "Distance In Static", there is also a sense that this album marks something truly monumental. It is a moment of transition, a celebration of Bonobo's 25th anniversary, but perhaps also his last album in the traditional sense: with numerous guest contributions and a multi-year world tour with a full live band.

Whatever comes next, one thing is certain: "Distance In Static" is arguably Bonobo's best album to date; as ambitious and forward-thinking as ever and a reminder of why he has influenced so many people so strongly for so long.

Daybreakers reaches a milestone with DBR010, and it felt right to mark the occasion with something truly special.

Fred Everything is one of those producers whose influence runs deep. From his early releases on 20:20 Vision through to decades of essential records on Lazy Days and beyond, the Montreal based producer has quietly become one of the most respected names in deep house. A producer's producer, a DJ's DJ, and someone whose records seem to reveal a little more with every listen.

The story behind this release starts in Hackney. A few beers at the BBE Store, a conversation about old DAT tapes and eventually enough persuasion to get Fred digging through his archives. What came back was pure gold: three previously unheard tracks recorded between 1998 and 2004, sitting untouched for over twenty years.

There's something special about hearing these recordings now. Made during a period that saw Fred establish himself as one of deep house's leading voices, they capture that unmistakable blend of musicality, groove and craftsmanship that made his records stand out in the first place. This isn't nostalgia or a history lesson. These tracks still sound fresh, still sound relevant, and most importantly, still sound like they belong on a dancefloor.

Three lost gems, finally seeing the light of day.

Deeper than deep house.

Buy or cry.

Step back to the mid-1960s with NOW Yearbook Presents – The 60s – Volume 3: 1965–1966, featuring 54 essential tracks across a 3LP set, pressed on beautiful blue vinyl.

LP1 opens with some of the decade’s most iconic vocal performances; Dusty Springfield leads with ‘You Don’t Have To Say You Love Me’, a UK No.1 hit that also reached the US Top 5, followed by The Righteous Brothers’ classic ‘You’ve Lost That Lovin’ Feelin’’, a chart-topper in both the UK and US. The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ was a UK Top 3 hit, while The Beach Boys follow with ‘God Only Knows’, widely regarded as one of their finest moments. Huge chart hits from The Moody Blues, Manfred Mann, Small Faces, The Kinks and The Animals with ‘We’ve Gotta Get Out Of This Place’ completes the first side…and flip the LP over for The Mamas & The Papas with ‘California Dreamin’, a major hit on both sides of the Atlantic and The Byrds and capturing the rise of folk-rock with ‘Mr. Tambourine Man’, another US No.1. Cher announced one of the most successful and enduring careers in music with ‘I Got You Babe’ – a #1 duet with Sonny, and is followed by the pop brilliance of Sandie Shaw with ‘Long Live Love’. Following The Mindbenders and The Fortunes, LP1 closes with a pair of soul standards: ‘My Girl’ from The Temptations was a US No.1(and eventually a UK #2 in 1992), and Percy Sledge’s ‘When a Man Loves a Woman’, another US chart-topper and a UK Top 5 hit in 1987 when it featured in a TV ad campaign.

LP2 opens with the explosive sound of 60s soul and crossover pop. Ike & Tina Turner kick us off with the timeless ‘River Deep – Mountain High’, a UK Top 3 hit. Frankie Valli & The Four Seasons had a huge hit with ‘Let’s Hang On’ and Motown is strongly represented with The Four Tops, whose ‘Reach Out I’ll Be There’ hit the US No.1 spot, alongside The Supremes, who scored another US chart-topper with ‘You Can’t Hurry Love’, plus Martha Reeves & The Vandellas, Stevie Wonder and a future Northern Soul Classic from Gloria Jones. Following James Brown, the side closes with the enduring soul classic ‘What Becomes Of The Broken Hearted’ from Jimmy Ruffin… while over on the other side Horst Jankowski’s instrumental smash ‘A Walk In The Black Forest’ leads in to pop classics from Tom Jones with ‘It’s Not Unusual’, a UK No.1, alongside Georgie Fame & The Blue Flames’ UK chart-topper ‘Yeh Yeh’ and Chris Montez with ‘The More I See You’. Sophisticated easy listening pop from Andy Williams and Frank Sinatra’s iconic ‘Strangers In The Night’ come ahead of Elvis Presley’s ‘Crying In The Chapel’, with LP2’s closer’s coming from Roy Orbison and Roger Miller, with the essential ‘King Of The Road’.

The Righteous Brothers’ undeniable ‘Unchained Melody’, a hit on release and a #1 in 1990 following it’s feature in the film ‘Ghost’ opens LP3 ahead of a wealth of huge pop hits from The Walker Brothers, Cilla Black and Cher – and rock oriented chart-toppers from The Troggs with ‘Wild Thing’ and The Spencer Davis Group with ‘Keep On Running’. The Everly Brothers’ ‘The Price Of Love’ leads into era-defining hits from Barry McGuire and Bob Dylan’s hugely influential ‘The Times They Are A-Changin’ reflecting the growing social awareness and changing approach to songwriting…and over to the final side opened by The Supremes with ‘Stop! In The Name Of Love’ ahead of The Toys with ‘A Lover’s Concerto’ and The Shangri-Las’ legendary ‘Leader Of The Pack’. Classic singles from Marianne Faithfull, Petula Clark and Sandie Shaw feature before the collection closes with a trio of timeless tracks: The trans-Atlantic top 5 ‘Sloop John B’ from the Beach Boys is alongside The Mamas & The Papas’ ‘Monday, Monday’ (a US No.1 and UK Top 5), whilst the aptly titled ‘Homeward Bound’ from Simon & Garfunkel – their first UK hit - signs off this superb collection.

NOW Yearbook Presents – The 60s – Volume 3: 1965–1966 – a snapshot of a rapidly evolving pop era where pure pop, soul, rock, beat, easy listening and songwriting sophistication converged.

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.

Half a century after its original release, legendary Lebanese musician and singer Marcel Khalife—renowned oud player and global icon of both music and activism—returns with a new recording. On this album, he reinterprets four of the five tracks from his debut, Promises of the Storm. A bold defiance of time and history.


Why revisit the same album, 50 years later? The reasons are many, but one stands above the rest: history itself seems to be repeating. The narrative unfolds once more in the same dire circumstances as half a century ago, as if time has folded in on itself, returning everything to its starting point. The urgency, the necessity—it all remains, pressing and inescapable. We must begin again.


In 1976, a young Marcel Khalife found himself exiled in Paris, fleeing the Lebanese Civil War and his family’s Christian village, where his progressive, left-wing ideas had placed him under a kind of house arrest. He was one of the few to openly and unwaveringly champion the Palestinian cause. The situation quickly became untenable, especially since, just a month before the war began in March 1975, Khalife—fresh out of the conservatory—had given his first public concert to great acclaim. Then, everything collapsed. What does one do when trapped at home? Read books, play the oud, and turn those readings into songs. In his family’s de facto prison, Khalife began setting the poetry of the great Palestinian poet Mahmoud Darwish to music. These songs, born of confinement, he carried with him into exile, driving to Paris where a producer offered him the chance to record an album. Naturally, the tracks were the ones he had been improvising at home from Darwish’s poems. The album’s title, Promises of the Storm, echoed the war that was just beginning. Khalife recalls that the album became a hit after a concert at the Fête de l’Huma, where 500 copies were sold in a single day. “Everything started there, and it never stopped,” he remembers. He would meet Mahmoud Darwish shortly after, at a dinner organized by mutual friends. From that moment, a deep friendship blossomed between the two men.


With Darwish’s words and Khalife’s music, the songs of Promises of the Storm are imbued with a powerful evocative force—melancholy, tenderness, and poetic resistance in the face of violence. The album catapulted Khalife to international stardom, leading to endless tours and recordings, yet he never abandoned his commitments.


Now, 50 years later, Promises of the Storm returns in a fresh recording, because history is repeating itself. After the Israeli bombings in Lebanon at the end of 2024, Khalife, who was on tour, found himself stranded in Paris. He remembered a recurring request from his son, musician Bachar Mar-Khalife, who had often urged him to re-record his now-classic debut album. One morning, oud in hand, Marcel knocked on his son’s door and said, “Shall we? I’m ready to record.”
These new versions are stripped down, raw, and intimate—just the solitary strings of the oud. Khalife sings as never before, his voice no longer marked by the fragility of youth but imbued with something deeper, freer, unshackled. It soars high yet resonates low, always clear, as if to escape sadness, to evoke love and violence, desire and exile. In just four songs, Khalife encapsulates a lifetime, and a philosophy of life. Rita tells of a love of Darwish’s, with the haunting line (translated from Arabic): “Between Rita’s eyes and mine, a rifle.” Oummi invokes the figure of the mother as a metaphor for the lost land. Promises of the Storm is a meditation on revolution, the hope for change, the melancholy of defeat, and the power of thought. Passport captures, through poetry, the feeling of being stateless—a citizen of everywhere and nowhere.
Time has only strengthened these texts and this music. History never repeats itself without a valid, indispensable reason for the present. That reason is fully contained in Marcel Khalife’s new interpretations, which have never sounded so clear, so right, so essential.

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!«

What is an edit? A correction, a confession, a DJ tool, a mild act of vandalism—or simply the result of listening to somebody else’s record and thinking: very good, but what if this bit went on a little longer?
For his contribution to the Running Back Mastermix series, Gilles Aiken aka Edward opens a folder that has apparently been filling up for quite some time.
The Giegling resident’s thirteen edits reach back through years of DJing, collecting and producing. Made for sets rather than release schedules, they form something like a musical autobiography told through other people’s records: Carl Craig, Roman Flügel, Motohiko Hamase, Kirk Degiorgio, Aubrey, Sven Väth, Michael Rother and more.
From Japanese ambient jazz and Detroit techno to dub techno, house, trance and kosmische music, these are not attempts to improve records that didn’t need improving. They are the small interventions that happen after living with music for a long time: a rhythm exposed, an entrance moved, a passage extended, the unnecessary made necessary.
“These records mean a lot to me,” says Edward. “They consist of edits I’ve gathered over the years, some of them going way back. In a way, they reflect my musical journey. All of these artists have been a huge influence on me as a producer and DJ.”
Usually, such edits remain on hard drives, USB sticks and in vaguely labelled folders. This time permissions were requested, publishers located and, somewhere, presumably, a spreadsheet became very important.
Miraculously, everybody said yes.
Thirteen thank-you notes to the music that helped make Edward Edward. Naturally, they require three records.
Mastermixed accordingly.
Also available on cassette,

What is an edit? A correction, a confession, a DJ tool, a mild act of vandalism—or simply the result of listening to somebody else’s record and thinking: very good, but what if this bit went on a little longer?
For his contribution to the Running Back Mastermix series, Gilles Aiken aka Edward opens a folder that has apparently been filling up for quite some time.
The Giegling resident’s thirteen edits reach back through years of DJing, collecting and producing. Made for sets rather than release schedules, they form something like a musical autobiography told through other people’s records: Carl Craig, Roman Flügel, Motohiko Hamase, Kirk Degiorgio, Aubrey, Sven Väth, Michael Rother and more.
From Japanese ambient jazz and Detroit techno to dub techno, house, trance and kosmische music, these are not attempts to improve records that didn’t need improving. They are the small interventions that happen after living with music for a long time: a rhythm exposed, an entrance moved, a passage extended, the unnecessary made necessary.
“These records mean a lot to me,” says Edward. “They consist of edits I’ve gathered over the years, some of them going way back. In a way, they reflect my musical journey. All of these artists have been a huge influence on me as a producer and DJ.”
Usually, such edits remain on hard drives, USB sticks and in vaguely labelled folders. This time permissions were requested, publishers located and, somewhere, presumably, a spreadsheet became very important.
Miraculously, everybody said yes.
Thirteen thank-you notes to the music that helped make Edward Edward. Naturally, they require three records.
Mastermixed accordingly.
Also available on cassette,

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.

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

Rebolledo is back. And this time, he's bringing his own label: Rated R. What began as a party series — with chapters like Rated R and Wax Upon A Time — now mutates into a record label. Long overdue, if you ask us. Surrounded by talented friends from all corners of the globe, this is the new home for bringing everything back into focus. And yes, on wax too.
Naturally. For the first release, we're kicking things off with something equally overdue: Rub N Tug are back. The track? A certified underground wanderer. Loved, played, and passed around dance floors worldwide for well over a decade, yet somehow never properly released. Or maybe it was. Sort of. It's complicated. Now it returns with a remix of a remix, giving the whole thing a fresh coat of cosmic polish. As if that wasn't enough, Paulor takes things one step further with a particularly special jam of his own. Which means we're now dealing with a remix of a remix of a remix.

Confusing? Maybe.
Necessary? Absolutely.
Makes perfect sense to us.

Balaise was the original title of Vers le Nord’s debut album. In French slang, balaise means something in between badass and flamboyant. The word keeps popping up throughout the record, like a teenager’s graffiti scrawled on a bus shelter after a few drinks. Balaise robots. Balaise ghosts lurking in the shadows. Balaise is the barfly who fantasies about becoming a street vigilante. In many ways, Matthieu Pellerin's new solo project is entirely contained within that word: a gigantic piece one man against the world cobbled together, a monument shaped by hand using layers of synthesizers sounding like cathedral organs cast in concrete.


Stitching this type of freak together took time. Five years, or what sounds like forever in an age obsessed with career trajectories and content strategies. But for Matthieu Pellerin, it was never about career plans or taking the easy road. Or he would have dug up the rotting corpse of Oi Boys, his now-defunct band, whose brief existence and explosive popularity once united sullen skinheads, gothic street punks, and old school punks alike. Or he would have fully embraced the Metz scene, now that the Great International Triple Alliance of the East (Noir Boy George, The Dreams, The Feeling Of Love...) and rising solo acts like Tune Zitoune, Josy Bazar, Fantôme Josepha, and Tony Gerrano have somehow transformed this sprawling open-air heroin camp into an unlikely capital of cool. But Vers le Nord doesn't point East, and it is as a lone rider that Matthieu Pellerin can fully reveal his songwriting scope.


With Le Seul Élément, his first solo project, the Lorraine native had already shown a rare gift for crafting worlds. Picture vast sonic masses stretching like industrial zones, noise-filled fog pierced by pale neon lights and landscapes caught somewhere between the gnarliest dive bar and a doomsday bunker. And slipping through the soul-crushing slowness and fractured blackened atmospheres, one could perceive a throwback to his years plotting in black metal-tinged Loth and Bishop.

Vers le Nord populates those landscapes that once were rough sketches. Damaged characters reign supreme, with a plethora of exquisite mutts brought to life, rather than outcasts committed to the cause. Where Nuits Blanches —his new supergroup featuring members of Rixe, Lion's Law, Headbussa and La Femme— pulls no punches with raw confessions, Pellerin switches gear for tales of robot apocalypses, vagrants and fam-seeking school shooters, delivered with William Sheller-esque rhymes and striking images. Yet even within fiction, he manages to create something deeply intimate, almost defining, showing very little effort: he is a natural. All in all, à l’aise (at ease). Songs resonate deeply with the listener, perhaps because of Pellerin’s odd way or always addressing someone without ever really naming them, a floating, obsessive and inescapable “you” calling us out.


Despite all of the darkness, Vers le Nord stirs deep emotions. There is something of Type O Negative or Anna von Hausswolff in its constant collision of the ludicrous and the epic gothic, its bleak romanticism that never tells a sordid tale. While the vocals remain rooted in a distinctly French punk lineage—think No Class, La Souris Déglinguée and OG Bérurier Noir—the reactor core is hidden somewhere else. Oneohtrix Point Never feels like a closer relative with his ultra-emotional music made of cold synths and disembodied anthems, swallowing and regurgitating forty years of icy, contemplative new wave across ten songs. It comes as no surprise that Lila Ehjä and Aimable, two rising specialists in lowering the temperature below seasonal norms, appear on “Enterrez-moi bordel” (“Bury Me, for fuck's sake”), a grandiose, spectral and magnificently arrogant finale. And in the end, Vers le Nord starts where the original idea was hiding all along: somewhere amid the ruins, definitely balaise and yet somehow, completely à l'aise.

Fourteen years have passed since Woollen Kits released two albums in a single year (Woollen Kits and Four Girls, both 2012), but Melbourne/Naarm’s beloved Kits are back to remind us what we’ve been missing all this time.

Weather the Storm still draws from the same deck of cards, but opens the door to some more classically renowned influences like The Velvet Underground, Television Personalities, Beat Happening ,Marine Girls, Bob Dylan, Van Morrison, et al.

Across ten tracks it’s clear just how well they can write a hook, a verse, a chorus, a song; bringing together themes of everyday life, love and sincerity with aphorisms, stories and the classic sound we know and love.

Woollen Kits’ approach is almost as minimal and primitive as it was back in 2007, when singer/guitarist Tom Hardisty first sent a few channels into the red on an old Tascam tape machine. Simple chords, strong melodies, witty lyrics and a clear message. It’s a hell of a combination when it’s done well, and one they would only refine from there.

Tom (Hardisty) recruited a second Tom (Ridgewell, drums) and a Leon (Applebee, guitar) to help guide his new Cramps/Half Japanese- worship bedroom project into a real-life band, playing their first gig on NYE ’08 before launching into 2009 to record their first canon release, the Teenage Love 7”.

Yes, much time has passed since the band’s last record, Four Girls, came out in late 2012, but in the interim members have released plenty of other music across numerous projects, including Constant Mongrel, Nun, Canine Apathy, The UV Race, TB Ridge as The Director, Calamari Girls & more.

This autumn sees the release of ‘En de stilstaande tijd voor (elektro-)akoestisch ensemble’ (And Stationary Time for (electro-)acoustic ensemble), the new album by composer and musician Sietse van Erve. With this release, Van Erve marks a definitive turning point in his artistic career: bidding farewell to his long-standing pseudonym Orphax to continue under his own name.

From Rewire to the Studio
The foundations for this album were laid during a memorable live performance at the Rewire Festival 2025 in Den Haag (The Hague). There, Van Erve presented the composition for the first time with an ensemble featuring Anne La Berge (flute), Gareth Davis (bass clarinet), and Dario Calderone (double bass). The leading Dutch newspaper De Volkskrant praised the performance as "incomprehensibly still", drifting on a single, drone-like tone through which the instruments softly float.
Van Erve recalls the intensity of that debut: “I don’t think I’ve ever been as nervous for a performance as I was for Rewire. A packed hall in Amare, during such a major festival”. Following a second successful performance at Festival Musica in Strasbourg, the decision was made to capture the work permanently in the studio.

A New Vision of Nostalgia
The composition originates from Van Erve’s fascination with time and nostalgia, inspired by a 1960s postcard of a Spanish village where time seemed to freeze. While based on a solo piece from 2020, the (electro-)acoustic instrumentation provides a completely new interpretation. The transition from solo electronics to an ensemble brought unique challenges. Van Erve explains: “Certain effects can be triggered with a single knob on a synthesizer, but they result in almost unplayable parts for other instruments. In those situations, I presented the challenge to the group and we searched for a solution together.’’

Identity and Evolution
The album also marks a personal transition for the artist. Regarding the departure from his moniker, he states: “I was looking for the right moment, and now it feels right. With this project, I have finally been able to do what I’ve had in my head for a long time... I feel I have achieved something, and that is why I think it is a good time to initiate the name change."

Realisation through Crowdfunding
Recorded in the spring of 2026 at Studio 150—located in a former church in Amsterdam-Noord known for its exceptional acoustics—the album was captured by Joeri Saal. The production of the deluxe vinyl LP and CD was made possible through a successful crowdfunding campaign via Dutch platform Voordekunst, where supporters contributed to the studio and production costs.

Mensch & Maschine. A concept. 13 tracks. One system. No coincidence. No compromise. Everything follows a logic. We live in a time where progress is no longer a goal, but a reflex. We accelerate without knowing the destination. We develop without questioning. We trust without understanding. We are driven by the idea that technology produces solutions. Without calculating the risks. Meanwhile, something new is emerging. A form of intelligence. Not human. Not emotional. Unstoppable. Consistent. Precise. Superior. Maybe not today. But eventually. Mensch & Maschine exists exactly there. Between what we create and what replaces us. This work does not provide answers. But it may ask the right questions. What happens when we are no longer the most intelligent entity? What remains of the human when systems begin to replace them? And who makes the decisions when we no longer decide for ourselves?

Techno is an experimental journey: deep, moving, cinematic, carried by science-fiction dreams steeped in true melancholy. Over time, much of this heritage has faded away. The soul and spirituality of the music have receded, giving way to the oversized ego of some, and to the constant need to show off on social media: a techno that looks beautiful, but is sterile, limited, meaningless, with no jazz, gospel or disco influence at all. The innovators, whether African-American in Detroit, Chicago and New York, or German with Kraftwerk, bet everything on the hypnotic and mesmerizing side of this music. "Lost Spiritual" was born from this observation, with a simple idea: to give more credit to the music and what it makes you feel than to the musician's look or haircut. This record is a tribute, an inspiration, and the hope that the spiritual dimension, which was the priority in the early 80s, will never die.

La techno est un voyage expérimental : profond, émouvant, cinématographique, porté par des rêves de science-fiction empreints d'une véritable mélancolie. Avec le temps, une grande partie de cet héritage s'est effacée. L'âme et la spiritualité de la musique ont reculé, laissant place à l'ego démesuré de certains, au besoin permanent de s'afficher sur les réseaux sociaux : une techno belle en apparence, mais stérile, limitée, vide de sens, sans aucune influence jazz, gospel ou disco. Les innovateurs, qu'ils soient afro-américains à Détroit, Chicago et New York, ou allemands avec Kraftwerk, misaient tout sur l'aspect hypnotique et envoûtant de cette musique. « Lost Spiritual » est né de ce constat, avec une idée simple : donner plus de crédit à la musique et à ce qu'elle procure qu'au look du musicien ou à sa coupe de cheveux. Ce disque est un hommage, une inspiration, et l'espoir que la dimension spirituelle, qui était la priorité au début des années 80, ne meure jamais.

In their countless years of deep digging, Dark Entries has uncovered many curiosities, oddball Italo and synth-wave creatures too rare to live, too funky to die. Dark Entries’s conservationist efforts began with 2020’s Endangered Species Vol 1. Six years later, we are finally treated Endangered Species Vol 2, an even more ambitious effort which features eleven specimens previously deemed extinct, now safely preserved on vinyl. Things kick off with an extended mix of Palazzo di Danza’s “Play That Song For Me,” a lavishly produced German-Italo number propelled by a slinky bassline. Russian Olga Vosconyan’s “Cars” delivers what might be the moodiest song ever produced for a car commercial.

Fuzz Dance maestro Alexander Robotnick appears with a previously unreleased male vocal demo version of “I Wanna Believe,” a legendary track that would later appear under the name Gina & the Flexix. Canadian industrial royalty Dwayne R. Goettel (Psyche) and cEvin Key (Skinny Puppy) team up on the horror-sampling hit-heavy blaster “Bastards.” Belgian EBM progenitors à;GRUMH... report for duty with a slab of machine funk on “The Army.” UK DIY stalwarts Khmer Rouge bring Krautrock-inflected minimalism with “Take Me (Across the Floor Tonight) In Dub.” Endangered Species Vol 2 comes housed in a sleeve designed by Eloise Shir-Juen Leigh, and includes a 16 page booklet featuring liner notes, lyrics, and photographs of each featured project. Please assist Dark Entries in their efforts to preserve the rarest of beasts (and beats).

When We Froze is Ignez's entry into the Primal Instinct catalogue. A world held between ice and water. A kiss preserved beneath the frost, where winter finds its quiet shape. Yet somewhere below, the water keeps its own flow. It's a record about what happens beneath a frozen surface, about the quiet flow that never actually stops, even when everything above it looks still.

FatCat was recorded in a single session-live, with all four musicians together in the same place. What you hear on the record isn't a polished production, but a one-of-a-kind recording of four people playing at the same time in the same room.
This is not a nostalgic gesture. It's a stance. As music is increasingly understood as the output of a prompt, the question of what actually makes music becomes urgent again. Not flawless, efficient production, but the imperfect moment and its context. Not the result, but the process in which four people listen to each other, react to each other, misjudge, and find one another. This fallibility - the hesitation before an entrance, the slight pull in the timing, the glance between musicians that signals a turn - is not a weakness but the substance itself. It cannot be synthesized, because it isn't a data point but a lived relationship: between the instruments, between the people, between their shared history and what emerges new in this one take. The album is thus also a statement on the question of where, in the age of generative music, authorship and art can still be located: not in the result alone, but in the shared risk taken in creating it.
"The question was always: how do I bring my work as a producer and beatmaker onto the stage? How can something that usually happens alone behind closed studio doors become a live experience?" With the album FatCat, Sepalot pursues this question to its logical conclusion: what began as a live performance now becomes the recording itself - the studio becomes a stage for a day, and the stage becomes the definitive version of the album.
The love for electronic music remains, the raw pressure of hip hop is still palpable - and yet everything on FatCat sounds like a fresh start, captured in the very breath in which it was played.
On stage as in the studio, the four characters fit together like a puzzle. Sepalot's signature as producer and mastermind is unmistakable. On drums, Fabian Füss, longtime partner behind the kit and the voice that makes Sepalot's radio hit "Rainbows" so unforgettable. On bass, Robin Jermer. On trumpet, Matthias Lindermayr, multiple award-winning jazz virtuoso with his own albums on Enja Records. And then there's Sepalot himself, who turns it all into more than just the sum of its parts.
The eclectic beats, the pulsing bass, Sepalot's passion for atmospheric sound design - all of it remains, now joined by an element of jazz and captured in its most immediate, unpolished form. The album shows what four people in one room are capable of: a sound born of shared experience, and precisely for that reason, unique.

In the history of hip-hop, certain collisions alter the orbit of the culture entirely. When Busta Rhymes first stepped into the otherworldly, swing-heavy universe of J Dilla, it was an alignment of two unstoppable titans—the most chaotic, kinetic vocalist in rap history meeting the quiet deity of raw soul and sub-bass perfection. Their original pairing set a gold standard for what happens when top-tier lyrical warfare meets sacred production. Now, the vault opens to unveil DILLAGENCE II: a resurrection of that mythic frequency, bridging the raw grit of the streets with a legendary, earth-shattering grandeur.

Authorized directly from the Yancey estate, DILLAGENCE II pairs Busta’s razor-sharp, rapid-fire flows with Dilla’s nastiest, most sought-after unreleased beats. Built upon rare MPC canvases unearthed from Dilla’s legendary vault, the album captures both masters in a state of absolute, unchained ascension. Every track hits like a heavyweight knockout—blending off-grid snares, filthy basslines, and soaring soul chops with Busta’s apocalyptic precision. He treats every lost Detroit tape like a battleground, unleashing a larger-than-life energy that turns unreleased boom-bap into a stadium-sized manifesto.

Forget the cheap nostalgia cash-ins and posthumous butcher jobs. DILLAGENCE II hits with the weight of two master craftsmen operating at the absolute peak of their powers. By locking Detroit’s deepest low-end grooves directly into New York’s loudest, most relentless vocal engine, this record doesn't just honor Dilla's legacy—it kicks the door off its hinges and demands you listen.

2026 Repress

Do you know what time it is It's debut o'clock. Emitting his first material for Pampa, it's &ME - craftsman of all things deep and sturdy, at the same time connoisseur of emotive touch and virtuoso of sure instincts, one of the scene's central characters for a good amount of years now and one of the main figures of Berlin's Keinemusik-crew. The man has been hitting the bulls eye of public perception several times in the past, meeting everything it takes to get a crowd going with an intent on the detail when it comes to his arrangements and sound. These new two cuts seem nothing less than the essence of his abilities.

There is "In Your Eyes", the name lending A side to this EP, showcasing a rather pensive mood. It's just a few bars for the compound of kickdrum, tuned hi-hat tambourine and shimmering background noise until the first chords of an improvised piano-piece are tenderly laid upon the beat. Add a synth-motive coming back and forth and you'll have the main ingredients to this - in every sense of the word - floor-moving tune. Accordingly, the arrangement won't aim for an all too obvious sensationalism and rather opts for a flowing and intertwining call and response of its elements, ultimately resulting in a staggering impact anyway.
In comparison, "As Above So Below" on the flipside is adding a fair amount of emphasis. It unfolds in a dry and dense sounding beat-architecture that's suspense-packed with shaker sounds and subtextual field recordings. Most certainly, a slip-proof ground for this tune's centre-piece, a scale-riding synthbass sparking an almost anthemic trigger for floor-ecstasy. While details like subtle reverberating tapping and sparkling ambient textures sound like recorded deep down in a dripstone cave, the overall energetic layout pushes relentlessly to the heights of peaktime-grandeur. There you have it: "As Above So Below" - this tune works on every level.

Amelie Lens' debut album 'AURA' is the first full-length studio album to come from the Belgian artist despite being one of the most respected and sought-after acts in electronic music today.

Of the album, Amelie says:

"'AURA' is my story. Aura is about the connection between the crowd and me. Music has always been my escape, my way of turning my emotions and energy into something new. When I was younger, I would disappear into nightclubs and create myown world in my head. Being in the nightclubs gave me this feeling of belonging somewhere, I felt connection and freedom I had never experienced before. That feeling changed my life completely. So this album really reflects that whole journey. From playing tiny local clubs and driving myself through the night for gigs, to standing on huge festival stages, becoming a mother, building EXHALE and learning how to balance it all in life.

I wanted 'AURA' to feel emotional but still powerful, uplifting but raw. From big festival tracks to the trippy tracks I'd play at 4am at RSO. Although making this album is one of the biggest things I have ever done in my life, I wanted to keep it light and somehow playful. Because that is also how I am as a person. This is the most honest version of myself I've ever shared. I hope it brings some light, happiness and connection to others as it does to me. Because Aura is and always will be about my connection to you."

The album will consist of 11 brand new tracks, all produced by Lens - with one stellar collab, who will be announced in due course.

“Lazaar Vanderschrick? What in the hell kind of name is that?” After spending the better part of half a decade trying to wash every possible ounce of music industry dirt off of him, Victor De Roo returns to Stroom and Kontakt Group once again. But this time he comes bearing more than just music as the man has discovered yet another hidden talent and has now become Victor De Roo: Producer/DJ/Performer/Journalist/Teacher/Writer. For “Mauvaise foi (Feat. Iwza)” is the single accompanying his literary debut “Heil”, a tragi-comical novel set in the tristesse of Charleroi amongst desillusioned bar-punters, revolutionaries and self-proclaimed prophets.

Nach zwölf Jahren meldet sich Morten Harket, die unverkennbare Stimme von a-ha, mit seinem bisher persönlichsten Soloalbum zurück. Human Grace ist ein tiefgründiges, intimes Album, das den gewohnten Stadion-Sound a-ha’s gegen organische, emotionale Klänge tauscht. Von Harket selbst als „Feier des Lebens“ beschrieben, entstand das Album in enger Zusammenarbeit mit langjährigen musikalischen Weggefährten und seiner Familie – darunter berührende Gastbeiträge seiner Töchter Tomine und Karmen Harket.

The fourteenth release on Early Morning brings Roy Rosenfeld back to the label for the first time since its second. The two years in between have not had a quiet stretch in them: new singles every few months across 2025 and 2026, and a touring year running from Mexico City and New York through Paris, Barcelona, Ibiza and Amsterdam to Montreal, Santiago and Buenos Aires. He is back in New York on the day this record goes global, and in Amsterdam for ADE later the same month. What arrives here is two long-form pieces, 15 minutes and 15 seconds together, both built on patience and both written for rooms where there is time to stretch out.
New Life takes its time. A full minute passes in suspended texture before the groove arrives, and when it does it carries the weight of everything that was withheld. The track moves in patient cycles, stepping away briefly at its midpoint before opening into an extended central passage where the rhythm withdraws and the harmony is left exposed. The return is the payoff, and Rosenfeld holds it to the final bar rather than letting it fade.
Seven Three Eight begins where New Life arrives. It is in motion from the first bar, with no preamble and no easing in. The low end breathes in long swells beneath a top layer that keeps shifting, and two breakdowns punctuate the arc without ever surrendering the momentum. It closes at full stride, running the seven minutes and thirty-eight seconds its title names.
Two tracks, near identical in length and opposite in approach. EARLY014 is a record about pacing, and about a producer who trusts the long form to do the work.

16 bongo bashin' tropic-trashin' mambo-shmambo monsteros!!
Everybody likes a bit of LATIN. It's steamy. It's tropical. It's hot. It gets the dames a-dancin' and the guys pay attention. Those wild rhythms are the sound of sweat. It's the heat that can't be beat.

Now let me tell you about LATIN. Real LATIN, bangin' LATIN. Not the sweet soft stuff your mama used to play. I'm talkin' hard bangin' LATIN that's the real deal. The stuff that makes you move. The motion of the ocean. Hot, wild, sexy rhythms. Skin slappin' coconut crackin' conga crushin' caliente copana. And horns to die for!!

You got your rhumba, your mambo, you got your cha cha cha. You got your Cuban heat, Brasilian beat, colourful Colombian cumbia and pure fire from all those little islands in the Caribbean. You cut 'em, you chop 'em, you cook 'em on up with a slug of jazz and some downhome RnB and you got yourself the devil's own firecracker. It's a sauce like liquid lava. It's LATIN that's off the scale.

Now you add your mezcal, your Carolina Reaper, you add yourself whatever you want, and that right there is a volcano in a bottle. Krakatoa ain't got nothin' on this baby! Put the needle on the record, watch your dancefloor EXPLODE!

Black Truffle is pleased to present Even Colder Spring, the latest release from the mysterious and wildly prolific Cities Aviv (a.k.a. Wilbert Gavin Mays, who also records as African-American Sound Recordings), a rare appearance from the artist outside his own D.O.T. Audio Arts label. For over a decade, Cities Aviv has twisted hip-hop conventions into the most skewed and splayed forms, layering and lacerating twitching loops, extreme production techniques and his mercurial vocal stylings into hermetic décollage. Across 16 tracks, Even Colder Spring charts Mays’ restlessly experimental approach: what sound like fully formed productions are interrupted suddenly after seconds; interjections of field recordings cue unexpected shifts; details drown under layers of fuzz. His vocal delivery takes in rhythmically intricate rap, barely articulate murmurs and freely melodic song, the latter often with a disorientating lack of connection to the track’s harmonies. The lyrical shifts are as paratactical as the musical movements. Apocalyptic visions of social and cultural uniformity alternate with reflections on mortality, glimpses of everyday life and head-scratching one-liners: ‘Maybe Mars is bougie?’ His reference points are as surprising as ever, the Dante quotes of previous releases joined here by a track named after Henri Bergson’s idea of the élan vital. Australian listeners, in particular, might be especially taken aback to hear ‘Closing Door’ open with the phrase ‘the tyranny of distance’.

While Mays’ work can sometimes be claustrophobically bleak, the productions here are often sparkling, at times touching on the shimmer of private-issue New Age sounds and the more playful end of krautrock. The instrumental ‘Martine Drift’ could almost be a snatch of Cluster’s Zuckerzeit caught through dial-up internet. The distant echoing drums of ‘L_area’ cross Persona’s Som with lo-fi IDM, while closer ‘Final Heaven’ dissolves a cloud of loops across almost seven minutes into ecstatic, rippling distortion. The graphic design, at the artist’s request closely modelled on the format of Corwood Industries, offers as good a clue as any to what awaits the listener on Even Colder Spring: a world at once impossibly opaque and intensely personal.

2026 Repress

Multi-faceted artist Calibre today shares his sixteenth studio album "Feeling Normal". The album is out now to pre-order on Vinyl, CD and on digital platforms via his own independent imprint Signature Recordings.

The record is his first bonafide 140bpm record and a staggering body of work that shows the genius levels of one of electronic music's most respected auteurs. Across the 13 tracks, he transcends through space and time, creating music that will take the listener on a weighty sonic journey. The album announcement is accompanied by two dub versions "Bad" and "Badder" deconstructed from the track "Badman" with DRS from Mark Ernestus available via his Hardwax store January 29th and Bandcamp February 12th. "Getting to work with Mark Ernestus is a real honour, I collected Basic Channel, Rhythm & Sound and his other work for many years and still do. It's hard to avoid the influence of this guy in electronic music across genres and so it is a real pleasure to have him do his thing with the Badman tune which I think sounds closely related."

All of the tracks on the record have been road-tested in Calibre's DJ sets over the last 2/3 years with many of them being sought-out by his hardcore fans. It was only a matter of time then that he put them out for all to consume. With a nod to the dancefloor, the clear idea for the album came about following the release of his most personal album to date "Planet Hearth". "It still works in the headspace but ultimately it's been written for the sweaty club experience we miss now, also after an album like Planet Hearth it felt very liberating to do," he remarks. When writing albums, he often just puts it down to the general chaos of life, not citing any one influence but generally just waits to see what comes. With one of the tracks on the album written 7 years ago on the island of Valentia, It became a project that he spent the intervening years collecting tracks for, not really knowing when he was going to put it together as an album. "The whole album is special to me, everything on there has import and meaning beyond for me, I have spent much time on all these and hope they are special for other people too."

Belfast-born, Berlin-based Calibre - AKA Dominick Martin - shows no sign of slowing down. As a producer, DJ, songwriter, multi-instrumentalist and painter, he is one of the most unique and inspiring living artists. With a career spanning two decades, his ability to remain underground whilst being one of the most-respected is testament to who this enigmatic artist is. To this day, he has never been remixed and has a seriously impressive amount of unreleased music under wraps. With everything on hold and gigs on the backburner, this record is exactly what the world needs right now.