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After regular appearances at Berghain since his debut two years ago, Altinbas now presents his contribution to Ostgut Ton, tying together five tracks that outline an expedition through celestial bodies in ‘Beyond the Veil’. Deepening his research on intricately crafted ambiance, the EP strikes a balance between commanding rhythm and blossoming synth work that reaffirm his inimitable style. ‘Beyond the Veil’ is a conceptual collaboration between an artist and a room; describing the dancefloor as an organism and the architecture of its surroundings.

Over the years, harmony has become synonymous with the Belgian artist’s sound. Deeply tuned and cohesive, Altinbas’s productions walk the boundary between insistent anticipation and unparalleled warmth. Although dancefloor effect remains a central theme for him, ‘Beyond the Veil’ is the latest chapter in a long study of obscurity in music that qualifies almost as ritualistic. Tracks like ‘Beyond the Veil’ and ‘Charming the Cosmic Snake’create tension in the keys that resonates like an expedition into new soundscapes. With weight and stability in the percussion, airy textures and hypnotic synth lines roll off the rhythm to mesmerize the listener. Sculpting his arrangements around the development of rich, dubby and atmospheric tones, Altinbas capitalises on the natural flow of his elements to provide an organic touch to tracks that are tuned especially for high pressure sound systems. ‘Entanglement’ and ‘Winter’ are both examples of this : soulful techno that ebbs and flows with each transition. Dimension is pushed dramatically into each of the five pieces of the EP as a direct response to the current climate of tool oriented techno. Keeping a safe distance from this approach, Altinbas invites listeners to explore the shape of his sound in an embrace rather than submit to its abrasion. The project concludes with ‘Antichamber’ - the fifth track of the EP that announces a departure from strict club codes. Dampening the rhythm from a pulse to a sway, a dreamlike landscape rises from deep within the record, smoothing over any of the rougher residuals from the preceding tracks. The descent that is ‘Antichamber’ is the result of an accumulated euphoria, gently guiding the listener back to consciousness.

‘Beyond the Veil’ represents a checkpoint for Altinbas in his research of moving a dancefloor not only physically, but emotionally. Carving out his own space in dancefloor-oriented music, he offers highly expressive compositions in defiance of the status quo. Altinbas offers this EP as a personal statement of where he stands; five tracks of carefully tended tone and harmonic glow create an emotional urgency for the collective experience.

One more year and our annual compilation 'Hate & Tenderness' is back. This time in its fifth edition, where we have agreed a group with some of our favorite artists from the last years to create a wonderful compilation full of love.

Being faithful to our philosophy based on contrasts, legendary artists such as DJ Shufflemaster, Truncate or DJ Dextro join youngsters such as Gene Richards Jr, Phil Berg, Mathys Lenne, Kashpitzky, Nicolas Vogler or Damian Vargas to name a few, all of them accompanied by the label heads Fixon & Dig-It, to leave a release that moves us indescribably and that we want to share with everyone!
credits

Es war ein Coup, als Gründer und Bassist Lee Payne vor drei Jahren ankündigte, dass Harry „The Tyrant“ Conklin, der nach Griechenland gezogen war, seiner Band Cloven Hoof beitreten würde. Der ehemalige Jag-Panzer-Frontmann war der perfekte Nachfolger für Russ North, der für die Fans bis dahin als der ultimative Cloven-Hoof-Sänger galt – leider weilt er nicht mehr unter uns. Daher waren die Reaktionen auf das erste Album der Band mit Harry Conklin am Mikrofon herausragend. »Heathen Cross« wurde 2024 bei High Roller Records veröffentlicht.
Nun folgt Cloven Hoofs zehntes Studioalbum mit dem Titel »Never A Prophet In Your Own Land«. Wieder einmal ist die Gesangsleistung vom „Tyrant“ absolute Weltklasse. Lee Payne grinst: „Das Lob gebührt einzig und allein Harry. Wir können uns glücklich schätzen, einen so brillanten Sänger und Frontmann in der Band zu haben.“
Kontinuität ist für jede Band wichtig, und Cloven Hoof hatten in der Vergangenheit mehr als einen Besetzungswechsel zu verzeichnen. Diesmal nicht, wie der Bassist nicht ohne Stolz erklärt: „Wir haben dieselbe feste Besetzung wie auf »Heathen Cross«, das kann ich mit Freude sagen. Am Gesang der einzig wahre Harry Conklin und an den Gitarren Luke Hatton sowie Chris Coss. Dazu Ash Baker am Schlagzeug. Luke, Chris und Ash sind nun seit über zehn Jahren bei Cloven Hoof; sie kennen ihre Rollen in- und auswendig. Ich selbst bin seit 1979 in der Band, also sollte ich inzwischen eine Vorstellung davon haben, was ich mache (lacht).“
„»Never A Prophet In Your Own Land« ist keine direkte Fortsetzung von »Heathen Cross«“, fährt Payne fort. „»Heathen Cross« hatte seine eigene schwere und düstere Atmosphäre. »Never A Prophet In Your Own Land« ähnelt eher »A Sultan‘s Ransom«, doch diese Ähnlichkeit war weder konstruiert noch geplant. Es ist einfach so gekommen.“

Montréal-based sound artist Steve Bates expands his strategies and stylistic influences on An Infinite Antenna, his second solo album for Constellation, giving freer reign to melodic components and textural dynamics: leftfield synth work, deconstructed drum machine, pointillist electric guitar, and radiostatic blur are all part of the new brew swirling around his bruitist signal-bending and field-recording sensibility. Arguably a more ambient album than his acclaimed 2022 Constellation debut, An Infinite Antenna is at the same time more densely packed with ideas, dynamics, evocations and earworms. Coming out of the anarcho-punk scene of the Canadian Prairies in the 1990s, Bates founded Winnipeg’s experimental sound festival Send + Receive in 1998 before moving to Montréal to become Sound Coordinator at Hexagram (Concordia University), delving further into sonic research and theory, tape-based composition, and installation work. Alongside the curatorial arc of his own sound art label The Dim Coast, Bates released several solo and collaborative albums on ORAL_records leading up to All The Things That Happen, the 2022 Constellation debut praised by Boomkat for its “grittily iridescent ambient billow rendering maximalist panoramas” and by Backseat Mafia as “extraordinary soundscapes of unstable, destructive cacophony and tender calm, echoes of the threat of power.” Where that album was noisier and single-minded, made with the self-imposed limit of a Casio SK-1, Bates plays more widely with instrumentation and atmospheres on An Infinite Antenna, also drawing on his post-hardcore roots in seeking a sort of track-by-track concision nonetheless driven by the album’s coherence as a seamless work. “I was trying to set durations I associate with punk rather than the longer, sprawling music coming from more ambient styles (that I very much love), and while I wasn’t able to quite pare it down to Minutemen durations, I had that reduction to essential elements as a sort of whisper over my shoulder.” Incorporating source recordings made throughout 2023-2025, including at artist residencies and site-specific sound installation visits in Bosnia and Herzegovina (the album’s cover photo was taken in Sarajevo), Austria, Greece, and Saskatchewan, An Infinite Antenna combines Bates’ “idea of slowly scanning a radio dial” with a soundworld of recurring timbral and textural touchstones that forge an integrated whole.

The album’s 12 tracks work effectively as stand-alone pieces, replete with shifting undercurrents, buried melody, and stuttering kinetics, and as a sequential flow where the brief interstitial silences between them are like short pauses to flip the next page in a sketchbook of perspectival studies of a wide but singular tableau. The glistening atonal synth expressionism of opener “Pink pink pink pink…pink pink” drifts gently toward submerged ambience, darkened by the noised rumble and static interference of “Green as a ghost”, which introduces broken beats and piano chords in its denouement. Tracks like “Battles and sieges and street trees” and “Easier sad than done” work the foundations of low-end field-recording resonance, but dappled with lovely melodic droplets of treated guitar and synth. “Waste, songs of the world” and “Disaster loans” are among the album’s most explicit stylistic references to posthardcore, with distorted ambient bass and gently abrasive drum sampling. Closing track “Swamps and factories”, the album’s longest piece, is perhaps most reminiscent of Bates’ previous record with its sustained dissonant glimmer-drone, but the journey An Infinite Antenna traces to get there is Bates at his most dynamic, diverse, distinctive, and engaging. Thanks for listening.

Montréal-based sound artist Steve Bates expands his strategies and stylistic influences on An Infinite Antenna, his second solo album for Constellation, giving freer reign to melodic components and textural dynamics: leftfield synth work, deconstructed drum machine, pointillist electric guitar, and radiostatic blur are all part of the new brew swirling around his bruitist signal-bending and field-recording sensibility. Arguably a more ambient album than his acclaimed 2022 Constellation debut, An Infinite Antenna is at the same time more densely packed with ideas, dynamics, evocations and earworms. Coming out of the anarcho-punk scene of the Canadian Prairies in the 1990s, Bates founded Winnipeg's experimental sound festival Send + Receive in 1998 before moving to Montréal to become Sound Coordinator at Hexagram (Concordia University), delving further into sonic research and theory, tape-based composition, and installation work. Alongside the curatorial arc of his own sound art label The Dim Coast, Bates released several solo and collaborative albums on ORAL_records leading up to All The Things That Happen, the 2022 Constellation debut praised by Boomkat for its "grittily iridescent ambient billow rendering maximalist panoramas" and by Backseat Mafia as "extraordinary soundscapes of unstable, destructive cacophony and tender calm, echoes of the threat of power." Where that album was noisier and single-minded, made with the self-imposed limit of a Casio SK-1, Bates plays more widely with instrumentation and atmospheres on An Infinite Antenna, also drawing on his post-hardcore roots in seeking a sort of track-by-track concision nonetheless driven by the album's coherence as a seamless work. "I was trying to set durations I associate with punk rather than the longer, sprawling music coming from more ambient styles (that I very much love), and while I wasn't able to quite pare it down to Minutemen durations, I had that reduction to essential elements as a sort of whisper over my shoulder." Incorporating source recordings made throughout 2023-2025, including at artist residencies and site-specific sound installation visits in Bosnia and Herzegovina (the album's cover photo was taken in Sarajevo), Austria, Greece, and Saskatchewan, An Infinite Antenna combines Bates' "idea of slowly scanning a radio dial" with a soundworld of recurring timbral and textural touchstones that forge an integrated whole. The album's 12 tracks work effectively as stand-alone pieces, replete with shifting undercurrents, buried melody, and stuttering kinetics, and as a sequential flow where the brief interstitial silences between them are like short pauses to flip the next page in a sketchbook of perspectival studies of a wide but singular tableau. The glistening atonal synth expressionism of opener 'Pink pink pink pink_pink pink' drifts gently toward submerged ambience, darkened by the noised rumble and static interference of 'Green as a ghost', which introduces broken beats and piano chords in its denouement. Tracks like 'Battles and sieges and street trees' and 'Easier sad than done' work the foundations of low-end field-recording resonance, but dappled with lovely melodic droplets of treated guitar and synth. 'Waste, songs of the world' and 'Disaster loans' are among the album's most explicit stylistic references to posthardcore, with distorted ambient bass and gently abrasive drum sampling. Closing track 'Swamps and factories,' the album's longest piece, is perhaps most reminiscent of Bates' previous record with its sustained dissonant glimmer-drone, but the journey An Infinite Antenna traces to get there is Bates at his most dynamic, diverse, distinctive, and engaging. Thanks for listening

Across a glitching, glimmering constellation of 10 tracks, the record redraws the boundaries of her own subconscious through daring harmonic modulations, glitchy electronica, and frenetic orchestral sequencing. Deeply informed by Nordic folklore, it moves through a journey confronting body dysmorphia, control, and a staccatoing sense of self - reaching toward creative and emotional liberation through ethereal, amorphous avant-pop.

Within the work, the artist made the deliberate choice to take the focus away from her physical self - a protest, but also a tribute to the countless versions that form one person. "It's not about disappearing or being anonymous," she says, "more about loosening the grip of appearance, and letting the work exist without being defined by it."

Named for Bach's Inventions - played on piano growing up - Inventio carries a Baroque sensibility: trilling polyphonic textures and lush vocal harmonies rising above it all. Sonic touchstones include Björk, Elizabeth Fraser, and the kulning-style singing of Lena Willemark. Made across three years in Sweden, the album was built without Murex knowing it would become one. Collaborators including Pelle Westlin, Isak Hedtjärn, and Elvira Anderfjärd gave the work what Murex calls "extra arms." All music videos are directed by Murex herself.


"Making this album gave me back authority and power. I hope it's just as freeing to listen to."

Das fünfte Soloalbum von Jim James, dem Frontmann von My Morning Jacket, beschäftigt sich mit den psychischen Folgen des digitalen Zeitalters. Nachdem er ein umfangreiches Archiv mit Musikstücken entdeckt hatte, die er Anfang der 2010er Jahre für zwei große Film-Soundtrack-Projekte komponiert hatte, erlebte James einen plötzlichen Inspirationsschub und verwandelte diese Fragmente in ein fesselndes Werk voller gefühlvoller Psychedelia. „Wowed Out“, sein erstes neues Soloalbum seit acht Jahren, ist ein visionäres neues Werk von einem der experimentierfreudigsten Künstler der Rockmusik des 21. Jahrhunderts.

Rejoice is surely the album Tahiti 80 always wanted to make: free from all constraints, driven by curiosity. A collection of independent songs that speak to each other without sounding alike, yet form a cohesive whole, somewhere between the freedom of the White Album and the eclecticism of a Souljazz compilation.

Rejoice is surely the album Tahiti 80 always wanted to make: free from all constraints, driven by curiosity. A collection of independent songs that speak to each other without sounding alike, yet form a cohesive whole, somewhere between the freedom of the White Album and the eclecticism of a Souljazz compilation.

Trá Pháidín are a mutable collective of musicians who are geographically, culturally and mentally torn between Conamara Theas, Cathair Chorcaí, Ciarraí, Uíbh Fhailí, Sligeach and Port Láirge, active in one form or another since 2019. The music they make, which to date has mostly been self-released, is of an ambitious breadth, embracing traditional Irish absurdity, jazz, folk and krautrock influences, whilst remaining tantalisingly beyond any one specific understanding of either the world around them or even themselves. More defined however, is their overall conceptual approach, focusing upon original Gaelic music and what lies beyond simply “conas atá tú?”.

Cloch ‘s Claí (trans. Stone & Wall), their first record to be released by World of Echo, develops their established interests into more adventurous waters (and walls!) than ever. Based on the historical significance embedded into dry-stone walls, the album presents a satirical view of Éire’s relationship with her native tongue and the Gaeltacht (regions where Gaeilge - Irish Gaelic - remains the primary language). Constructed of ten tracks, each representative of a stone in a metaphorical stone-wall, Cloch ‘s Claí draws from styles of improvisation in Irish traditional music, exploring avenues of ornamentation and accompaniment in the tradition. As such, the arrangement changes in every performance, a new stone-wall articulated each time - the recording on this album represents just one such arrangement in one such performance. Inspired by Myles na gCopaleen’s An Béal Bocht, the wall comes to embody a variety of themes scattered across the landscape and psyche of na Gaeltachtaí - tokenism, housing, gentry politics, ribbon developments and so on. The result is a music expressive of regional styles in traditional music, krautrock, free jazz, post-rock, minimalism and drone presented in a way that feels instinctively fluid and reflective of a hushed existentialism from the west of Ireland.

On Cloch ‘s Claí, Trá Pháidín are: Conal Ó hAinmhuighe, Ultan Ó Labhradha, Peadar-Tom Mercier, Micheál Fitzgerald, Pól Ó Lionáird, Ruairí De Búrca. Cloch ‘s Claí will be released digitally and as a limited edition LP on 25th September via World of Echo. This record was created through the support of the DEIS Recording Grant & Ealaín na Gaeltachta.

Pressure is the medium of wind players. Wind instruments all sound thanks to pressure differentials, whether that’s the rush of wind over a lip plate or a steady, buzzing exhalation through pursed lips. Ka Baird and Chris Ryan Williams (HxH) are wind players well- schooled in the power of using pressure and movement to amplify the mystery of an invisible force animating a metal tube. They augment their instruments, flute and trumpet respectively, with electronics, sometimes obscuring the acoustic sound source, sometimes making it hyperreal. Flutters of lip and tongue slither over the listener’s ear, and sustained tones become a dense fog, pushing on other kinds of visceral, emotional pressure points.

On Enthalpy, Baird and Williams’ first album as a duo, the energy they conjure feels barely contained, the pressure built up to a breaking point before spilling out in multiple directions at various speeds. They borrow the title from thermodynamics, referring to the total energy of a system based on its pressure and volume. The music flies out in bursts; it seeps and oozes, flows with intention. It is an incredibly rhythmic work without any hint of meter, full of sounds that punctuate with the thud of a dart hitting a bullseye. Williams’ capability to conjure swirling atmospherics, as well as his remarkable ability to pull fragments of melody from the haze, fit puzzle-like into Baird’s exclamations and the eruption of electronics that often dovetail them. The duo draws on tones from nearly the entire range of human hearing, from nimble but bulbous throbs of sub-bass to pinprick flickers of ultra-high end.

The sessions that produced Enthalpy were completely improvised, showcasing a degree of mind-meld that belies each participant’s thrill at approaching the unknown. This isn’t a casual conversation, but an omnidirectional tangle that ties and reties itself into new knots as the album progresses. Williams and Baird have both become ubiquitous presences throughout the New York City experimental music communities, collaborating with innumerable others and learning how their unique approaches work in tandem with similarly expansive thinkers and players. Even in the album’s most spacious moments, there’s a tension between the feeling of being unmoored and yet completely locked in, like the abyss is just one more river to cross. They ford it together before moving on to the next idea in lock step.

For the listener, Enthalpy is often felt in the body as much as it reverberates within the ears. We’re tossed from side to side, made to shoulder the impact of detonating electronics, absorbing these sounds with the feet, gut, and crown. Baird reaches into the back of their throat for guttural growls, and we can almost feel the scratch. As we tread the border of the synthesthetic, it's a reminder of the physical nature of sound, that the space between our ears and the speakers is its own enthalpic system of energy conduction. Move with it, let it move you, and see how it feels.

Following the much-loved Library Music: Volume One (2022), and hot on the heels of this year’s critically acclaimed ‘After The Rain, Strange Seeds’ (9/10 - Uncut) , London group The Leaf Library return with a second journey through the margins of their catalogue. Gathering together rare recordings, compilation tracks, limited edition releases, collaborations and hidden gems from their ever-expanding musical world, Library Music: Volume Two is another vibrant and varied collection of electronic indie pop, in all its guises.

Far from a conventional odds and ends collection, the double LP compilation reveals another side of a band who have always treated the spaces between albums as places to explore. These are the moments where ideas stretch out; there are hypnotic drones, motorik rhythms, glowing analogue textures, pastoral electronics and the warm, melodic melancholy that has become unmistakably The Leaf Library. There is the electro-pop of Flowers At The Border, the psych rock-adjacent Building Better Worlds, and the gentle chamber shuffle of Kendrick Road. Tracks range from the 22 minute folk kosmiche epic Versatile Clouds to the 59 seconds, record skip punctuation mark of Harmonic Runout, with a whole array of trips, ideas and experiments in between.

Since forming in a pre-Ghost Box, Castles in Space and Clay Pipe world, The Leaf Library have carved out a unique place somewhere between dream pop, kosmische repetition and experimental songcraft — drawing comparisons to Stereolab, Broadcast, Yo La Tengo and the outer edges of library music, while creating a sound entirely their own.

“We’ve always loved making things outside the pressure of a ‘proper’ album,” says singer/guitarist Matt Ashton. “Singles, collaborations and compilation tracks give you permission to follow an idea wherever it wants to go. Looking back, those pieces tell their own story.”

Where their studio albums have shown the group carefully building immersive worlds, the Library Music series maps the pathways between them — the sketches, diversions and unexpected discoveries that often reveal the most about a band.

Across a lucky thirteen tracks, Library Music: volume two is a reminder that some of the best discoveries are found on the shelves you forgot to check.

[a] Flowers At The Border [4.21]
[b] The Long Dead King [7.16]
[c] Bowed Clusters [4.00]
[d] I Learned To Swim Under Water [4.32]
[e] Building Better Worlds [11.59]
[f] Harmonic Runout [0.59]
[g] Kendrick Road [3.36]
[h] Sailing Day (Wintergreen Remix) [3.59]
[i] Versatile Clouds [22.00]
[j] Bells and Thread [2.54]
[k] No Memories, No Plans [4.33]
[l] Everyone I Met Today [1.00]
[m] Tired Ghost In Orbit [9.19]

BRUTAL TRUTH's defining 1997 album is one of Grindcore's most essential releases! Now fully remastered by Brad Boatright and available on vinyl for the first time in more than 20 years! "From startling exercises in savage brevity to disorientating psych-rock squalls, it’s grind with no brakes, no safety net and absolutely no fear." - Metal Hammer

Der Soundtrack enthält die rekordbrechende Nummer-1-Hit-Single „I Knew It, I Knew You“ – gesungen von
Taylor Swift und geschrieben sowie produziert von Swift und Jack Antonoff – sowie eine Original-Filmmusik
des Oscar®-Preisträgers Randy Newman.

Baltimore's End It is telling it like it is on their debut album, Wrong Side Of Heaven, set for release this summer. The hardcore band has built a reputation through being unapologetically outspoken, playing fast, ripping songs, and putting on an electrifying live show. Now they're ready to enter their next era. Formed in 2017, the band consists of vocalist Akil Godsey, drummer Chris Gonzalez, guitarist Ray Lee, and bassist Patrick Martin. Signed to Flatspot Records, End It came out strong with the release of their self-titled EP the same year they started, and followed it up with 2020's One Way Track EP. In the summer of 2022, the band took the hardcore world by storm with their Unpleasant Living EP, solidifying the Baltimore outfit as one of the most exciting acts in the genre. Following the release, End It embarked on a packed touring and festival schedule across North America and Europe, playing alongside No Warning, Terror, Cold World, Drain, Speed, Angel Du$t, Scowl, and many more. The band's reach goes even farther with breakout single "New Age Slavery" featured on the soundtrack for Tony Hawk's Pro Skater 3 + 4. No matter where they are and what they're doing, End It is true to keeping things authentically them and that shines through on the forthcoming Wrong Side Of Heaven. Entering Salad Days Studio with renowned producer Brian McTernan (Turnstile, Snapcase, Hot Water Music) the band came in with a few demos and wrote the majority of the album during the two month recording process in early 2025. Taking direction from classic hardcore, thrash, and soul music, End It has crafted a 15 song magnum opus centered on "Spreading awareness of the change that's coming to Americans, personal growth, and maintaining the ethics and integrity of hardcore."

For acclaimed folk artist Martin Simpson, this release reflects not just a remarkable 50-year recording career, but over six decades shaped by song, tradition, and continual artistic growth. Yet this is not a retrospective, it's a forward-looking work, carrying the depth, skill, and passion of a lifetime into the present. Marking 50 years since his debut album Golden Vanity, Simpson describes Some Kind of Jubilee as "my best work to date." To realise this landmark project, he brings together an exceptional group of collaborators drawn from across his long and distinguished career. Among them are renowned pedal steel guitarist Greg Leisz, guitarist Zac Hobbs, cellist Liz Hanks, guitarist Louis Campbell, and double bassist Ben Nicholls. Together, they create a rich and textured soundscape that honours tradition while embracing fresh perspectives. Recorded at Groovemaster Studio in Santa Monica and completed in Yorkshire, the album blends newly written songs with reimagined traditional material and inspired reinterpretations from Simpson's own catalogue. The result is a deeply rooted yet vibrant collection that reflects both heritage and innovation. As Greg Leisz puts it, "This music has some profoundly deep roots - so dig in." With Some Kind of Jubilee, Martin Simpson honours his past while continuing to shape the future of folk music, reaffirming his place as one of the genre's most respected and enduring voices.

,Dead Meat" ist das Debütalbum der Londoner Band The Tubs, gegründet von den ehemaligen Joanna Gruesome-Mitgliedern Owen Williams und George Nicholls. Musikalisch verbindet die Band Jangle Pop, Post-Punk und britischen Folk-Rock zu einem eigenständigen Sound, der ebenso von Fairport Convention, Richard Thompson und der Canterbury-Folk-Szene geprägt ist wie von modernen Indie-Bands wie The Goon Sax oder Twerps. Charakteristisch sind die hell klingenden, treibenden Gitarren, eingängige Pop-Hooks und die Verbindung von traditioneller britischer Folk-Melodik mit der Energie des Indie-Rock. Über diesen Klangteppich legt Owen Williams seine scharf beobachteten, oft melancholischen Texte, die zwischen Selbstironie, Enttäuschung und emotionaler Verletzlichkeit pendeln. Mit Songs wie ,Round The Bend", ,Duped" und ,I Don't Know How It Works" gelingt The Tubs eine faszinierende Mischung aus Folk-Rock, Jangle-Pop und Post-Punk, die gleichermaßen zeitlos und modern wirkt und ,Dead Meat" zu einem der bemerkenswertesten Gitarrenalben seines Jahrgangs macht.

The mastering was done from the master tapes from the studio recording of the album. The cover is a reproduction of the original. The LP includes a printed sleeve. The cover includes a Glossy finish in order to respect the original edition as much as possible.

Released in 1981, "Sibou Odja" is Orchestra Baobab's second studio album produced at the Golden Baobab in Dakar by the young producer Ibrahima Sylla. After their masterpiece "Mouhamadou Bamba" recorded the same year, "Sibou Odja" would once again mark the history of Senegalese music by propelling the group's success into a new musical decade. Under the direction of the hard-hitting saxophonist Issa Sissokho and the irremovable guitarist Barthélémy Attiso, it is notably the young singer future icon of Senegalese salsa Médoune Diallo who will deliver one of his masterpieces with the irresistible "Autorail", song locomotive which celebrates the opening of the railway line connecting Dakar to Niamey. The Baobab symbolizing both rooting in traditional Senegalese values ​​and the tree's ability to reach new heights, the group's sound is a perfect syncretism of Senegalese and Afro-Cuban imaginaries in which the montunos of electric guitars and the Vocal improvisations in the Wolof language subtly blend with the rhythms of Cuban sound and other boleros.

Reissue of this legendary album from Orchestra Baobab. Remastered from tapes.

Released in 1981, the legendary album "Mouhamadou Bamba" is the masterpiece of the Orchestra Baobab, which has dedicated more than ten years of existence. Under the direction of the percussionist saxophonist Issa Sissokho, of the irremovable guitarist Barthélémy Attiso the band records this album at the Golden Baobab studio in Dakar directed and produced by the young producer Ibrahima Sylla.
The Baobab symbolizes both the rooting in Senegalese traditional values and the ability of the tree to reach heights, the sound of the group is a perfect syncretism of Senegalese and Afro-Cuban imaginaries in which the montunos of electric guitars and vocal improvisations in wolof language marry subtly to the rhythms of cuban son and other boleros.

2026 Repress

The late sixties and early seventies spectacle of Jamaican Deejays taking their live performances out of the dance halls and translating them into hit records, not only marked the beginning of forty years of dance hall driven music on the island but also provided the original inspiration and template for the global dominance of rap and hip hop.
The art of deejay was now rightly recognised and the toasters or talk over artists advanced from introductions and interjections to stringing complete sets of lyrics together and riding the rhythm for the entire length of the song.
Deejays including U Roy, I Roy, Dennis Alcapone, Big Joe ,Little Joe and Prince Jazzbo who built their reputations working live on sound systems,now went one step beyond and moved on to become recording deejays with entire catalogues of hit singles and albums to their credit.
Throughout the seventies a whole host of mic men followed in their wake including Dillinger,Dr.Alimando,Clint Eastwood and Jah Stitch.
Talking records were not new, but 'talk over' records were...the repercussions of this uniquely Jamaican phenomenon would go on to reverberate worldwide...

FJAAK returns to their own imprint with a new four track EP 'FJAAK015', showcasing the raw, analogue driven techno that has become synonymous with the Berlin duo. There are no unnecessary diversions, just carefully controlled changes in pressure and texture that allow the groove to do the work.

Entre Nous is the debut album from Eden Aurelius. A beautifully poised collection for Short Span. A gorgeous showcase of her singular talent within a sparkling scene. Recorded in Brooklyn, NY, this is an innovative, and graceful body of music that feels truly contemporary.

This album felt important for us to have out in time for summer. Emerging out of the heat, a feeling brought alive with the sun. Music that evolves throughout seasons and carries a spectrum of emotional range.

Entre Nous is tight, but expansive. Its depth and complexity is languid but has gravitational pull. Like much of her work, this record feels so refreshing because its tracks are both sensory and illusory tones built in gossamer and transitory layers of satin. They have a remarkable sense of presence and pressure - floating rhythmically without sharp edges. There is guidance and gentle control that lead throughout the record.

The B side opens with “Ion” featuring Pontiac Streator. The song is formed out of a textural haze. A glistening, iridescent light appears, broken through fabric, projecting a blurred image onto the surface nearby. A hypnotic and evocative collaboration. The shared connection between the two artists’ command of rhythm and ambient language.

Mastered and cut by Mike Grinser at Manmade.

Art by Lucas Dupuy.

Tsuyushi Hamada, a.k.a. Dayzero, has been producing and DJing for well over a decade, dropping deep heaters on labels including Livity Sound, ZamZam, and many more. We’re very happy to welcome him to the Tectonic family with this epic six-tracker, which sees Dayzero explore the deeper outer reaches of dubstep, techno - and the spaces he gravitates to in between.

‘Ego’ opens the EP at 134 BPM with a primal calling, conjuring spirits from the fire around a delicate but deliberate pitter-patter of interlocking drums and finely tuned delays. Moving up to 140 BPM for the rest of the EP, we’re skirting through the city lights with the techno-compatible energy of ‘Midnight Train’ and taking in old-school grime echoes with ‘Furious Dogs’.

Flip the vinyl here (if you have one!), and ‘Blur’ generates a light disorientation with its polyrhythmic melody. ‘Kingdom’ soundtracks a brooding sense of dread on a late-night drive, before we close with the title track, ‘Soaring’—a conga workout with a thousand-mile stare on it!

Galaxy 2 Galaxy) on strings, and the return of STRIPPERTM (Sleeve) on the B side for some twisted bass work. Holding light and shade, and pushing out plenty of low end, this record has two cuts for different times of night…
The A side, "In Light," starts with a pulsing kick, bright chords, and shakers, with a string line that slowly builds towards a soaring conjunction with the massive bassline that drops underneath. Filled with bittersweet emotion, this collaboration represents a beacon of light, like the golden hour after sunrise.
On the B side, "In Darkness," gnarly bass textures come to the fore as a harbinger of the dark, turbulent night, dropping into a massive twisted groove. Shakers, tribal percussion, and pulsing sub-bass keep things in a tight rhythm, while Esteban’s strings arrive to guide us through the darkness to dawn.

On this new album, the trio of Sanem Kalfa, George Dumitriu, and Joachim Badenhorst invites you on a poetic and sonic voyage. While their debut Black Sea Songs (2021) drew from traditional folk melodies, this work is a collection of original compositions and one improvisation, inspired by the rich cultures and emotions surrounding the Black Sea.

The music of this trio is elegant yet adventurous, blending jazz, improvisation, world traditions, and contemporary classical influences. Kalfa's distinctive voice and cello, Dumitriu's versatile viola and guitar, and Badenhorst's expressive clarinet and occasional vocals create a unique, dreamlike atmosphere. From the melancholic dance of "Denizi Özleyenler ?çin" (inspired by Orhan Veli Kan?k) to the hypnotic rhythms of "Intermezzo" and the narrative depth of "Fisherman" and "Black", each track breathes the freedom, longing, and interconnectedness that the Black Sea symbolizes.
This album is not just a collection of songs but a living story of travel, encounter, and belonging-whether evoking the ports of Istanbul, the shores of Bulgaria, or the emotional landscapes that connect us all. Black Sea Songs is a celebration of spontaneity, familiarity, and the universal language of music.

Trance music fans, get ready to experience Push’s iconic anthem “Universal Nation” like never before with this exclusive 2 x 12" vinyl release repress.

Strictly limited to 500 copies worldwide, this special edition features a unique Inside Out cut pressed on stunning Starlight vinyl — black with striking coloured speckles, giving every copy its own distinctive look.

Featuring an array of incredible remixes, including Airwave’s Vocal Theatrical Version, James Harcourt’s remix, Gai Barone’s remix, and DJ Ghost & Danny C’s remix, this release is a must-have for any Push and trance collector.

Presented in it's original modern remastered artwork and pressed in the exclusive Starlight colour, this highly limited release offers a fresh way to rediscover the magic of “Universal Nation.”

Only 500 copies available — once they’re gone, they’re gone.

""Röntgen" is Ø's (aka Mika Vainio) subliminal, minimal techno classic, and was featured on the first Sähkö Recordings release in 1993. Spatial, silvery-sharp, and reduced yet frenetic, it's a blueprint of drum machine and synth work that helped redefine an era in techno. This special-edition 12" also features a full-side cut of a previously unreleased Ø track from 1995. The untitled B-side carries the same approach as the title track—minimal TR-808 and acidic synthesis—but in contrast to the hard-edged A-side, this track features a subtle, warm melody towards the end, a melodic approach also heard on later Ø productions. THIS 12" IS CUT WITH LOUD VOLUME FOR EXCELLENT CLUB USE!

'Between Two Worlds' is the latest statement into Oscar Mulero prolific discography. This brand new LP expands the techno standards defined by the Spanish artist himself.

Repress!

Deas joins the CROWD family with 'Silent Tension', a refined EP that channels the Polish producer's signature blend of hypnotic groove and hardware driven production. Known for his precise studio craftsmanship and deeply intuitive approach to groovy techno, Deas has steadily built a reputation as one of the standout figures of the contemporary Polish scene. Through years of releases and international touring, he has developed a sound that feels both timeless and unmistakably personal, as proven on the label's 12th record. Opening track 'I Won't Cry' immediately sets the tone with classy vocal sampling from Loleatta Holloway, warm chord progressions and rolling swung percussion anchored by Deas' characteristically rich bass. Following up, 'Waterfall' introduces bleepy modular sequences and chopped vocal fragments, with a sweeping drone synth cutting through the mix above the track's rolling bass. On the flip side, 'Silent Tension' continues deeper into minimal territory, combining crisp clap fills, subtle vocal chops and delayed chord repetitions into a slow burning groove. The vinyl's closing cut 'Where Do They Go' brings dense low end weight and fast dubby chord stabs, accompanied by sharply placed vocal cuts, creating a track that balances restraint and impact. The digital addition 'Here Again' is a classic Deas production, characterised by repetitive synth stabs that gradually transform the cut into a hypnotic hook, while stripped back percussion and a powerful kick give the track a commanding presence. Throughout CROWD012, Deas remains firmly focused on groove and subtlety, while retaining a strong impact. The tracks unfold patiently, with a focus on tension, repetition and gradual escalation, maintaining the hypnotic functionality that has become both Deas' trademark and a defining characteristic of the sound of the label founded by FJAAK and Ellie Acula. The 'Silent Tension' EP stands as a sophisticated and deeply effective club record that further cements Deas as one of the most distinctive voices in contemporary techno.

First time re-issued on vinyl.

For its third release, Ambient Sans turns to one of the most quietly beloved works in Japanese ambient music.

Recorded at Biwa Studio in 1989, White Morning is the work of Fumio Miyashita — composer, arranger, and multi-instrumentalist whose output through the late 1980s and early 1990s occupies a singular space between healing music, environmental sound, and meditative ambient. Where his contemporaries were mapping the exterior world, Miyashita turned inward: his music was designed for the body as much as the ear, conceived explicitly for rest, focus, and presence.

White Morning distills that vision into its purest form. Two extended pieces — 目覚め (See The Light) and 朝の祈り (Morning Prayer) — built from soft synthesizer layers, delicate acoustic textures, and a stillness that feels less composed than discovered. Music that doesn't impose itself. Music that simply stays.

Originally released on CD in 1991 and circulated quietly ever since among devotees of kankyo ongaku and Japanese new age, White Morning has never appeared on vinyl — until now. Essential listening for anyone drawn to the environmental music of Hiroshi Yoshimura, the meditative depth of Satoshi Ashikawa, or the healing ambient of Klaus Wiese.

Marcal has emerged as one of the most distinctive voices of a new generation of techno producers, combining rhythmic precision with an instinct for detail, tension and movement. On Four Small Escapes, he delivers four tracks built around subtle shifts and carefully placed moments of surprise, where intricate sound design and groove remain in constant dialogue. Opening with Smoke from Respawn, Marcal immediately establishes the record's character. Syncopated rhythms, intricate percussion work and subtle sound design details unfold within a streamlined framework, creating a groove that feels both spacious and forward-moving. Wooden rimshots and glassy textures interact across an open arrangement, giving the track a fluid and trippy quality. Arapuca shifts into darker territory while maintaining the same sense of control. Organic percussion, rolling low-end momentum and sharply placed accents continuously reshape the groove, creating a track that feels alive through movement rather than dramatic intervention. On Ultimamente, Marcal introduces one of the record's most immersive moments. Fleeting sonic details appear and disappear throughout the arrangement, while a carefully integrated vocal element adds depth and emotional weight without disrupting the flow. The result is a track that invites complete immersion while remaining firmly focused on the dancefloor. Closing the EP, The Surprise Test delivers its most direct statement. Rough and driving without leaning into industrial aesthetics, the track is powered by rolling energy, syncopated claps and a series of subtle electronic details that continuously animate its surface. The contrast between rawness and precision gives the record a powerful closing moment. Across all four tracks, Four Small Escapes highlights Marcal's ability to create tension through detail rather than excess. Reduced yet expressive, the EP balances functionality with a strong sense of character, allowing small gestures and unexpected shifts to leave a lasting impact.

Introducing the second release from Principauté de Bowl-Air — PBAVINYL002

Principauté de Bowl-Air is a label founded by DJ Bowlcut, a key figure in supporting Seoul’s underground scene through Seoul Community Radio. The project presents his vision of deep, glitchy minimal house music, woven with the story of a secret micronation hidden in the heart of Seoul.

Following the debut vinyl release, PBAVINYL002 features an original track by DJ Bowlcut alongside reinterpretations by his friends Slowmouth and Furz.

The cover artwork references one of the first K-pop acts to introduce rave sounds to Korean audiences — Seo Taiji and Boys. Their first techno album featured an image of the top of an aluminum can, and PBAVINYL002 draws from the same visual reference. The track “Dig This” also reworks elements from their song “You in Illusions (Techno Taiji Mix).”

The A-side opens with “Falling”, a hypnotic-groove track built around deep synths and designed for afterhours. It works as a perfect DJ tool for gently guiding the crowd into a subtle trance state, further enhanced by the vocal sample “Everybody Falling, Anybody Feel that Falling?”, which pulls listeners into a slow, spiraling moment.

The second A-side track, “Dig This”, takes direct inspiration from one of the earliest K-pop tracks to feature rave stabs, TB-303, and classic rave elements — “You in Illusions (Techno Taiji Mix)”. DJ Bowlcut reuses many of the same samples that Seo Taiji originally layered, reconstructing them into a deep minimal cut with a distinctive Mentasm stab woven into the minimal house framework.

The B-side features remixes by Slowmouth and Furz.

Slowmouth transforms “Falling” into a brighter, more festive exploration that reveals the hidden layers of the original hypnotic groove.
Furz, meanwhile, turns “Dig This” into a funky, dancefloor-ready banger aimed at a wider crowd.

For the third instalment of our wax series, we welcome the regional talent Bood on board with a gorgeous four-tracker that perfectly defines our sound.

This EP was produced from the heart with some sounds from the analog and early era 16-bit digital domains, and a sprinkle of wild imagination.

In it are deeper house tones for a variety of dancefloors, and different times of the day.

Some recordings herald the future in ways that are impossible to see in real time. Teodros Makonnen With His Organ (ቴዎድሮስ መኮንን ከኦርጋኑ ጋር), by the artist Teodros Makonnen, also known as Teddy Mak, is one of those. Today, electronic sounds, synthesizers, and digital production are taken for granted in Ethiopian music, but in the early 1980s, they were novelties that polarized opinion. Even to this day, the story of Teodros Makonnen’s legacy has never been properly told. He played a decisive role in defining the sound of the digital era of Ethiopian music that emerged in the 1980s and beyond, both as a keyboard player and as a producer, songwriter, performer, and sound designer.

Ethiopian music was at a crossroads in the early 1980s. Much like music in the rest of the world, technology and automation heralded either a quantum leap in musical development or the annihilation of musicianship, depending on who you’d ask. The changes were incremental nonetheless, but with the benefit of hindsight one can clearly see that the changes meant different things in different contexts. Drum machines and electric organs came to replace many hotel bands because, all of a sudden, one musician could control drums, melody, and accompaniment. Teodros was one of the first musicians in Ethiopia to explore the possibilities this opened up.

Teodros’ father, Captain Makonnen Beri, was a chief pilot at Ethiopian Airlines and a music enthusiast at that. This would prove important to his development, as Makonnen brought back a piano from Germany, which would lead to the first steps in Teodros’ long musical career. Captain Makonnen’s work as Head of Flight Operations and as a pilot exposed him to the wider world that was far from commonplace for most Ethiopians. In a house where music captivated the whole family, the piano gave Teodros’ talent an outlet. Not only was a piano at home rare in Ethiopian households, his father also brought an Indian teacher to their home to teach Teodros and his brother, Captain Samuel Makonnen, music theory (solfeggio or ear training) and piano. Teodros and his youngest brother, the late great Dereje, a member of both the legendary Ibex Band and the Ethiopian reggae group Dallol, took up music from that point onward, with Teodros beginning to develop his proficiency at the age of eight. His father encouraged him to practice tirelessly at home, and Teodros later received musical schooling at the German School in Addis Ababa.

His obvious talent led to studies and formal education at the Yared School of Music, followed by continued studies in American jazz at Northern Virginia Community College in Virginia. Teodros cut his teeth professionally in his mid-teens, not only as a keyboardist, but also as an arranger for the Wabi Shebelle and Dahlak bands in the 1970s. He mastered electronic sequencing early, rising to prominence through the midnight recording sessions held during the military curfew. The pressures imposed by the curfew required precise and disciplined recordings, and Teodros delivered just that. This, in turn, led to collaborations with iconic artists such as Mulatu Astatke, Aster Aweke, Menelik Wossenachew, Tilahun Gessesse, Mahmoud Ahmed, and Alemayehu Eshete.

In those days, he sat in as a keyboardist with the Dahlak Band when Dawit Yifru took a hiatus to study in Russia, and also with the Ethiostar Band. He secured a residency at the Wabi Shebelle Hotel with the Shebele Band, together with Zelalem Tadese (drums), later succeeded by Elias Bekele, Mulugeta Hailu (bass), Teferi ‘Bibisha’ Mengesha (guitar), Kumelachew G/Selassie (trumpet), and Teshome Deneke (saxophone). A friendly competition developed between the bands associated with the Ras Hotel (the Ibex Band), Ghion Hotel (the Dahlak Band), and Wabi Shebelle Hotel (the Shebele Band). The music scene at Wabi Shebelle saw teenagers commanding the spotlight in an industry otherwise dominated by musicians of an older generation.

At the Wabi Shebelle Hotel, Teodros met a diplomat from Saudi Arabia and later visited him at his home in Addis Ababa, a meeting that had unexpected musical consequences. The man owned a Yamaha double-deck keyboard. That evening, they recorded Teodros Makonnen With His Organ (ቴዎድሮስ መኮንን ከኦርጋኑ ጋር) in one take. This recording, a cornerstone in the early digital sound of Ethiopian music, came about almost by chance, simply because Teodros got the opportunity. Traditional Ethiopian songs were cast in a wholly electronic style.

Once freed from backing duties, Teodros’ keyboards could explore dreamlike soundscapes that took Ethiopian music in new directions. Even though the cassette contained well-known Ethiopian songs, they were given highly original arrangements, performed on an electric organ with drum machine backing and rhythm patterns that left the listener with suggestive, lingering sounds. “Libesh Kabashen” (also known as “Anchi Bale Game”) and “Odu Gol Golesa” wrap you in the very stuff that dreams are made of.

Originally released on cassette only, this recording exudes a mystique that surpasses even some of the most obscure Ethiopian recordings of the day. It remained more or less unknown outside of Ethiopia until now. Some of the tracks, like “Addis Fikir,” are permeated with an almost naive buoyancy, free-floating sounds that lost contact with the ground the moment they were conceived. Others, like “Meche New Hageren Yemayew” and “Lelitu Alnega Alegn,” carry a moodier, quirkier timbre, with pulsating rhythms in the background. Yet even the darker pieces contain an unmistakable wave, something essentially Ethiopian. If most recordings of Teodros’s contemporaries at the time were teeming with atmosphere, his songs seem instead at home in the stratosphere, almost ethereal. Some of the music here could be filed under “lullabies,” were it not for the recurring, almost brooding feeling that engulfs the listener on the aforementioned tracks. You could easily be forgiven for drifting into a blissful haze as the music washes over you.

Up to the advent of electronic music production, Ethiopia was totally dominated by big bands on the one hand, and small groups on the other. The former were tied to large institutions such as the military, the latter emerged from the entertainment industry, in hotel bars and nightclubs. These groups were commercially driven, and bands ultimately had to foster a mercenary approach to employment, albeit not to the passion for music. In the light of this, Teodros’ musical legacy can be seen in two ways. On the one hand, he is a key player in Ethiopian music from the 1970s onwards, leaving an indelible mark through hundreds of compositions and arrangements, including soundtracks for numerous documentary films and advertisements for different companies. On the other hand, the way he and others employed electronics brought Ethiopian music onto a fork in the road.

The replacement of traditional instruments with electronic equipment was seen as impending doom by some. Others, like Teodros, saw new avenues for performance, production, and creativity. Just as later producers like Abegasu Shiota of Admas, Teodros was a trailblazer who opened paths that it took Ethiopian music as a whole more than a decade to rush into. The hotel scene had already been pushed toward electronic music by financial necessity and cost-cutting. Today’s revived global interest in Ethiopian music from the seventies and eighties, alongside a broader resurgence, has changed the reasons for using digital means of music production. They have become tools for musical dreaming. This is where the dreaming began.

Forest Swords' debut album 'Engravings' is back in print on vinyl and CD for the first time in years, newly remastered by Rashad Becker with previously unheard bonus tracks exclusive to this edition.

Created by electronic producer and composer Matthew Barnes, and originally released via Tri Angle Records, 'Engravings' received instant acclaim from the likes of Resident Advisor, Pitchfork, The Guardian and saw Barnes take his hypnotic live show across festivals like Sonar, Glastonbury, Unsound and Le Guess Who.

While much of British electronica is defined by its inner cities, 'Engravings' was recorded in Barnes' hometown on the banks of an ancient river in Merseyside, the album's earthy, organic soundscape reflected the landscape and climate: all silt and sandstone, woodlands and wind, with the ghosts of Liverpool's pop music and clubbing history echoing in the near distance.

The album was a prototype for a sonic vocabulary Barnes has expanded on over the next few years: in critically acclaimed studio albums ('Compassion' and 'Bolted' via Ninja Tune), collaborations with Massive Attack and Neneh Cherry, remixes for the likes of Bjork, as well as commissions for video games, ballet and film scores - of which he has carved a career as an in-demand composer and sound designer.

'Engravings' is a snapshot of an artist confidently defining their own language: a piece of work that distills influences like dub, ambient, rave, post-rock and psychedelia into an ancient-futurist musical vision that feels timeless and vital.