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»Breathing Soil« is the third full-length album by Swiss musician and performance artist Elischa Heller. As a member of groups such as Film 2, Beurre, or 222Rn as well as in his live practice as a solo artist and his performances, notions of physical and temporal presence have always informed his multi-genre approach. These two side-long compositions centre around drone music and are both intended as an invitation to listen deeply as they are a product of deep listening itself. Drawing on Heller’s live practice, which aims to create shared social experiences, this music mediates between matter and metaphysics.

»If we recognise that we and the world around us are nothing but vibrations and oscillations, drone music can get in touch with a profound aspect of our ways of being,« says Heller. »It enables us to get in tune with our surroundings and each other.« Hence, resonance serves as the guiding principle of his work. As Heller explains, the title »Breathing Soil« can be read in two ways: As a description of how one breathes in the soil and gets in touch with the Earth through the sound, or that it is the soil itself that resonance, with sound serving as the connective tissue between different forms of being.

»Breathing Soil« relies on radical forms of reduction that treat sound as raw form—as vibrations and oscillations whose subtle acceleration and deceleration can have wide-reaching consequences. Meant to be played on speakers, the subtle shifts in dynamics, timbre, and volume of these two pieces are supposed to resonate with the rooms in which they are played. This music aims to make the things sing.

Menace II Society is a 1993 American hood film and the directorial debut of the Hughes brothers. The movie was a huge box office success and featured an impressive cast, including Tyrin Turner, Jada Pinkett Smith, Larenz Tate and Samuel L. Jackson. Upon its release it received critical acclaim for its gritty portrayal of urban violence and its powerful underlying messages.

The soundtrack was equally impressive and perfectly captured the state of hip-hop in 1993 with essential artists like Pete Rock & C.L. Smooth, Boogie Down Productions, MC EIht and DJ Quik. It was an instant hip hop classic and peaked at number 1 on the Billboard Top R&B/Hip-Hop Albums and at number 11 on the Billboard 200.

The soundtrack of Menace II Society is available on black vinyl and includes an insert.

There's an eerie yet exciting limbo in which rave culture has decayed enough to shift and meet alien sensibilities, becoming a medium for entirely different meanings. We could call it "doom jungle" though that label doesn't quite reach the real core of the matter. Pushing the envelope again and again toward the true epicenter of the emotional spectrum's abyss, it feels like reaching a dimension where boundaries collapse, and different sonic languages converge into something consistent and coherent, a portrait of the very bottom of the human soul. Stepping into FREAKS puts you exactly in that place: everything is rusty, raw, and muddy yet incredibly seductive. Both XHL UNIT and VIRUS VOICE (aka Luciano Lamanna) carry a vast range of influences behind their electronic arsenal, most of them drawn from the darkest and hardest fringes of the musical world.

Scott Fagan’s new album Soon, 55 years in the making, revives songs from his lost 1971 Broadway rock opera.

Alongside songwriting partner Joe Kookoolis, Fagan conceived and wrote the rock opera, an age-old story of an artist forced to make a devil’s bargain between their principles and success, intending it to be the follow-up to his classic 1968 debut, South Atlantic Blues. But fate intervened. The production (which starred Fagan and a young Richard Gere) closed early, the album was shelved, never to be recorded or heard. Until now.

Recorded over seven days in July 2025 at the hallowed Sam Phillips Recording Service in Memphis with a crack rhythm section, the thirteen songs on Soon illustrate Fagan’s extraordinary facility and range as a singer and songwriter of great sensitivity, passion, and humour.

From its rousing gospel opener (“Let The World Begin Again”), through fiery, protest songs (“Faces Names and Places”, “Straight”), and tender-hearted ballads (“Child of Sympathy”, “To Touch the Sky”), the album is by turns, uplifting, mournful, righteous, giddy, soulful (title track, “Soon), and anthemic (closer, “Please Be Well”). This feels like an album of lost classics waiting to be rediscovered.

Scott Fagan has been waiting a long time for the world to hear these songs. The long, long wait is over, Soon.

*Originally pressed in 2021 - this is a brand new master and cut.**

In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.

Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:

"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."

Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:

"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."

An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.

On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.

'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.

Colorful, powerful and elegant. A watershed masterpiece that embraces before then and after that by Kiyoshi Sugimoto, the master of the era.

Since turning professional in 1960, Kiyoshi Sugimoto has been active in many sessions and recordings. From the latter half of the 1960s, he joined groups such as Hideo Shiraki, Akira Ishikawa, and Terumasa Hino, gaining attention and solidifying his position with leader works such as “Country Dream” and “Babylonia Wind.” This work was recorded with Akira Ishikawa, Hiromasa Suzuki, Takao Uematsu and others right after studying in America for about a year. Starting with the groovy and luscious “Our Time” and “Marmalade Sky”, the dubious keyboards of “Jones Street”, and the melancholic and beautiful “Quiet Pulse”, it can be said to be a gap between jazz rock and fusion. There are attractive songs. This work represents Sugimoto’s work in the mid-1970s.

Danza Nativa was founded in Buenos Aires in 2019 and has been drip-feeding us with a few choice releases a year ever since. The latest is another deeply immersive take on atmospheric techno from BLNDR, and it opens with the mystic, murky sounds of 'Tidal Veil'. The rhythm rolls freely, but the vibes are dank and grainy, as if you're in a dark underground cavern with the walls closing in. 'Mangrove' is just as aquatic as the title suggests, with wispy motifs buzzing about like mozzies above the humid groove. 'Arwing' has a more astral sound design with cosmic melodies over another low-key but meticulous mix of drums and hits. Finally, Alderaan enters on remix duties with a swirling late-night energetic charge.

California-based couple Allie Schulz and Alex Pasternak are Florecer, a producer and vocalist combo who draw on the energy that having their daughters gave them. 'Babies' and 'energy giving' are not often heard in the same sentence together, given the demands newly born small people often have on parents' time and sleep, but judging by these sounds, this pair have been fully inspired. The title cut is tropical and dub and kosmiche all collide into an undulating rhythm that's bright and demanding of your attention. Coyote dubs it into a more smooth affair and then 'What I Knew' rides world dub with steel drums. 'Running Behind' slows to a deep, soft plod with whimsical vocals this time, and Chris Coco turns up the reverb for a lovely, sleepy dub of his own.

Ariadne's Labyrinth returns with Endless Corners on Adepta Editions. Classically trained yet shaped by London's illegal rave scene, her distinct sonic language is born from live improvisation. Following acclaimed releases on Detroit Underground and Touched Music, this EP seamlessly intertwines the dense, physical pulse of underground club culture with breathtakingly beautiful string arrangements. It is a visceral journey, bridging heavy dancefloor tension with vulnerable, chamber-esque introspection.

Private Mexican lounge that still burns long after the cruise ship disembarks. Armed with a single nylon string guitar , a toy chest of rudimentary percussion, and the emotional microtones of the Spanish tongue, Alejandro Bravo’s lone LP blends bossanova, samba, and the Brill Building into a horny margarita for the tourist class. Recorded at home in Acapulco in 1971, Bravo’s self-released LP slaps and thrills with its taps and trills. Pair with a pregnancy test for best results.

Lucio M makes his label debut with this brilliant 4 slicer of modern day atmospheric drum & bass. Pulling from the scene's learning tree while also adding to it. A Flicker Of Light channels the golden era of atmospherics DNA with authenticity and fervor.

Limited repress of mu tate's sought after LP on soft lilac vinyl!

Utter (in collaboration with 3XL) presents mu tate's second album 'they're with you always', featuring Joshua Inyang (Space Afrika), Nikolay Kozlov, Desirèe Monique, Igor Dyachenko and Mathilde.

Housed in a high-gloss sleeve artworked by Lucas Dupuy and Art Crime. Mastered by Ike Zwanikken then transferred and cut by Anne Taegert at D&M.

they're with you always
inspired by a true story

Power Ballads and The Wash is the sophomore album from London-based multi instrumentalist James Howard, due for release on 6th November 2026 via boutique
label Faith & Industry. James is known as founder of critically acclaimed 2010’s band Blue House and collaborator with luminaries such as Rozi Plain, Dana Gavanski, Kate Bollinger and Alabaster Deplume.

For Power Ballads and The Wash James has worked with producer Mike Lindsay, co-founder of folktronica group Tunng. Power Ballads and The Wash follows James's debut solo album Peek-A-Boo, released to great acclaim in April 2023.

All eight songs of Power Ballads and The Wash began life as intimate live takes of
guitar or piano and voice, recorded at Howard’s studio in Deptford, south London.
Steeped in the energy of the local environment, each session was preceded by a visit to the Thames to ask for its muddy blessing, with the DLR rumbling by. The sessions at Lindsay’s Margate studio built a widescreen world around Howard’s original performances, from the restless Eventide vocal treatments on Seven Seconds to the Hollywood string samples of The Moon In The Movies and the Moog bass that quietly anchors the record throughout. Howard also praises violinist Magdalena MacClean's (Caroline) contributions.

Beneath this gentle absurdity, though, lies something quietly powerful. Howard’s
song-writing explores the notion that, despite our ever-shortening attention spans,
there is still the possibility of quiet reflection and the discovery therein of revelations hidden in plain sight. The world of these lucid dream-esque reveries is unmistakably London. The record began with a wing-and-a-prayer visit to the Thames, and ends there too: the wash from the Thames Clipper / nearly breaks through your shoe / like some feelings sometimes do.

LP with insert

In the artist’s own words:

"Thank Goodness brings together an overdubbed ‘chamber band’ of bass guitar, viola, piano, harpsichord, voice and drums. Made on my own in London and Ireland between 2023-26 as a slow channelling inward of a lot of social energy.”

Seán Being is a committed figure at the sharp edges of Irish music, including being the key instigator of the band Princ€ss, touring bass player with Maria Somerville, and a long-time affiliate of Dublin label wherethetimegoes. Their various collaborations include contributions to live and recorded projects with the likes of Spellcaster, Nashpaints, Florian TM Zeizig, Jennifer Moore, Olan Monk, Dylan Kerr, Asa Nisi Masa, Life is Beautiful, Polido, Adriana João and Usof.
Not always in the business of ‘popular music’, Seán also has Gregorian Chant and car horn performances in their repertoire.

Aspects of all of this activity have made their way, directly or otherwise, into this first full-length album.

21 Bum Salute is the fifth album from Sydney experimental psych-noise-pop duo Party Dozen. The work of Kirsty Tickle (saxophone, vocals) and Jonathan Boulet (drums, loops, production), 21 Bum Salute finds the critically-acclaimed, semi-improvised duo feeling liberated - from their peers, their worries, and what the nell they're supposed to sound like now.

Emerging in 2017 from the warehouses of the Sydney experimental noise-rock scene, Party Dozen arrive at the release of their fifth album, 21 Bum Salute, in peak form. Over the course of four, increasingly perverse albums of psych-tinged rock peppered with pop noise and bursts of doom in equal measure, they've transformed from gleeful noise-makers producing DIY albums from a tiny room in Marrickville, NSW, to globe-hopping, critically-adored favourites - producing DIY albums from a tiny room in Marrickville.

As well as tours with Amyl and the Sniffers, King Gizzard and the Lizard Wizard, Tropical F*ckstorm, Algiers and more, Party Dozen had Nick Cave appear on 2022 single Macca The Mutt', collabed with New York rapper billy woods, performed an incendiary live set on KEXP, signed international deals, firstly with Temporary Residence LTD (Mogwai, Explosions in the Sky,
Along the way Party Dozen self-released their first two albums, The Living Man (2017) and Pray For Party Dozen (2020), struck a chord internationally with album The Real Work (2022), which sent them on tours of Europe, North America, Japan, China and New Zealand, while fourth LP, Crime in Australia (2024), an ode to Aussie noir that leaned beyond rock into moodier moments, repeated it.

Party Dozen recorded, mixed and mastered 21 Bum Salute completely themselves, over a three month span. Inspired by spooky "old recordings" as well as the primal impulses of acts like ESG and Bikini Kill, 21 Bum Salute - named after a peculiar, larrikin ritual in Australia's arid Northern Territory - condenses consecutive years of jam sessions, loops and improvisations into just over half an hour's worth of fizzing, strutting, striking sonics from the fringes.

21 Bum Salute is the fifth album from Sydney experimental psych-noise-pop duo Party Dozen. The work of Kirsty Tickle (saxophone, vocals) and Jonathan Boulet (drums, loops, production), 21 Bum Salute finds the critically-acclaimed, semi-improvised duo feeling liberated - from their peers, their worries, and what the nell they're supposed to sound like now.

Emerging in 2017 from the warehouses of the Sydney experimental noise-rock scene, Party Dozen arrive at the release of their fifth album, 21 Bum Salute, in peak form. Over the course of four, increasingly perverse albums of psych-tinged rock peppered with pop noise and bursts of doom in equal measure, they've transformed from gleeful noise-makers producing DIY albums from a tiny room in Marrickville, NSW, to globe-hopping, critically-adored favourites - producing DIY albums from a tiny room in Marrickville.

As well as tours with Amyl and the Sniffers, King Gizzard and the Lizard Wizard, Tropical F*ckstorm, Algiers and more, Party Dozen had Nick Cave appear on 2022 single Macca The Mutt', collabed with New York rapper billy woods, performed an incendiary live set on KEXP, signed international deals, firstly with Temporary Residence LTD (Mogwai, Explosions in the Sky,
Along the way Party Dozen self-released their first two albums, The Living Man (2017) and Pray For Party Dozen (2020), struck a chord internationally with album The Real Work (2022), which sent them on tours of Europe, North America, Japan, China and New Zealand, while fourth LP, Crime in Australia (2024), an ode to Aussie noir that leaned beyond rock into moodier moments, repeated it.

Party Dozen recorded, mixed and mastered 21 Bum Salute completely themselves, over a three month span. Inspired by spooky "old recordings" as well as the primal impulses of acts like ESG and Bikini Kill, 21 Bum Salute - named after a peculiar, larrikin ritual in Australia's arid Northern Territory - condenses consecutive years of jam sessions, loops and improvisations into just over half an hour's worth of fizzing, strutting, striking sonics from the fringes.

Twisted Teens - alias Caspian Halliwell und RJ Santos - gab es vor ihrem Debüt-LP aus dem Jahr 2024, das heute als The Orange Album bekannt ist, eigentlich gar nicht. Das Duo hatte unter dem Radar und abseits der Öffentlichkeit Musik von Cajun/Country bis hin zu Anarcho-Folk gemacht und dabei ein Leben als Nomaden geführt. Twisted Teens entstanden aus einem pandemiebedingten Inspirationsschub, der sie zusammenbrachte, um in passender Lo-Fi-Manier in Caspians Haus in New Orleans aufzunehmen. Ihr erstes Album wurde schnell zu einem modernen Klassiker des eingängigen, warmen Rocks, der Blues, Folk und Punk zu einer rohen und unwiderstehlichen Mischung vereint. Das Duo meldete sich 2026 stark zurück mit Blame the Clown - das sofort von Pitchfork und Paste begeistert gelobt wurde - und anschließend mit dem ebenso gefeierten Florida Water Blues, einer absurden Betrachtung ihrer Streifzüge rund um die Welt. Ihr drittes fesselndes und perfekt schräges Album aus dem Jahr 2026 ist eine Saga über Herzschmerz und verborgene Triumphe namens The Holy Cross Tigers. Die Songs sind Hymnen der Sehnsucht und unzähliger Enttäuschungen, angeheizt von allem Möglichen - von einer brutalen Trennung bis hin zu verräterischen Ex-Freunden. Trotz all dieser Leiden strahlt The Holy Cross Tigers eine gewisse Leuchtkraft aus, ein Gefühl von reflektiertem Licht, das sich gegen die Traurigkeit stemmt. Man kann sich sofort damit identifizieren - es fühlt sich an, als würden ein paar Freunde die Lasten des Lebens miteinander teilen, mit seltsamen und ekstatischen Ergebnissen, weil sie nach ihren eigenen Regeln handeln. Es ist eine übersteuerte Übertragung vom Rand des Herzschmerzes, einem Ort, an dem selbst die Glücklichen schon waren und von dem sie hoffentlich zurückgekehrt sind.

Twisted Teens - alias Caspian Halliwell und RJ Santos - gab es vor ihrem Debüt-LP aus dem Jahr 2024, das heute als The Orange Album bekannt ist, eigentlich gar nicht. Das Duo hatte unter dem Radar und abseits der Öffentlichkeit Musik von Cajun/Country bis hin zu Anarcho-Folk gemacht und dabei ein Leben als Nomaden geführt. Twisted Teens entstanden aus einem pandemiebedingten Inspirationsschub, der sie zusammenbrachte, um in passender Lo-Fi-Manier in Caspians Haus in New Orleans aufzunehmen. Ihr erstes Album wurde schnell zu einem modernen Klassiker des eingängigen, warmen Rocks, der Blues, Folk und Punk zu einer rohen und unwiderstehlichen Mischung vereint. Das Duo meldete sich 2026 stark zurück mit Blame the Clown - das sofort von Pitchfork und Paste begeistert gelobt wurde - und anschließend mit dem ebenso gefeierten Florida Water Blues, einer absurden Betrachtung ihrer Streifzüge rund um die Welt. Ihr drittes fesselndes und perfekt schräges Album aus dem Jahr 2026 ist eine Saga über Herzschmerz und verborgene Triumphe namens The Holy Cross Tigers. Die Songs sind Hymnen der Sehnsucht und unzähliger Enttäuschungen, angeheizt von allem Möglichen - von einer brutalen Trennung bis hin zu verräterischen Ex-Freunden. Trotz all dieser Leiden strahlt The Holy Cross Tigers eine gewisse Leuchtkraft aus, ein Gefühl von reflektiertem Licht, das sich gegen die Traurigkeit stemmt. Man kann sich sofort damit identifizieren - es fühlt sich an, als würden ein paar Freunde die Lasten des Lebens miteinander teilen, mit seltsamen und ekstatischen Ergebnissen, weil sie nach ihren eigenen Regeln handeln. Es ist eine übersteuerte Übertragung vom Rand des Herzschmerzes, einem Ort, an dem selbst die Glücklichen schon waren und von dem sie hoffentlich zurückgekehrt sind.

Kings of Leon return with 10th album, ‘O My Beloved’.

For this release, the four-time Grammy-winning family band draws from their own history and builds on their storied legacy to deliver their most personal effort to date.

Frontman Caleb Followill describes this—their first self-produced studio album—as “emotional" and a “love letter to family” that explores themes of "gratitude and appreciation."


Available on 2LP and CD, featuring packaging adorned with vintage family photos.

Kings of Leon return with 10th album, ‘O My Beloved’.

For this release, the four-time Grammy-winning family band draws from their own history and builds on their storied legacy to deliver their most personal effort to date.

Frontman Caleb Followill describes this—their first self-produced studio album—as “emotional" and a “love letter to family” that explores themes of "gratitude and appreciation."


Available on 2LP and CD, featuring packaging adorned with vintage family photos.

Efdemin and Vril. revisit Endless / Purge, originally released in 2021 as the only release on the short-lived Sun Sad imprint, launched by Kinzua’s Lucas Brell. Five years later, it returns on Confusion Is Next To Happiness in a revised and expanded edition. The original recordings have been newly mixed and remastered by Rashad Becker and are complemented by a previously unreleased Vril. reinterpretation of Endless.
Throughout the record, arpeggiated sequences drift through layers of finely textured dub haze, balancing physical momentum with an floating sense of weightlessness. While retaining the artists’ unmistakable sonic signatures, the record subtly channels the melancholic futurism and machine-driven pulse of techno's Motor City tradition.

Bondage-Music proudly welcomes back Mihai Popoviciu with his latest EP, “Pick Up The Phone.” A familiar name on the label, Popoviciu returns with another refined selection of deep, groove-driven house music, combining his trademark rolling rhythms, warm basslines and subtle atmospheric elements.
With a sound that effortlessly balances depth,­ hypnotic grooves and dancefloor energy, Mihai Popoviciu has established himself as one of the distinctive voices of contemporary house music. “Pick Up The Phone” continues this signature approach across four tracks, delivering a focused and timeless club release.
For this edition, Bondage-Music presents the EP as a Limited Splatter Edition on 180G vinyl. Adding to its collectability, two tracks are available exclusively on vinyl, making BOND12086 a special release for DJs and vinyl enthusiasts alike.

Originally released in 2009, this massively in-demand record has been changing hands for anywhere between £50 and over £100 now finally available once again. You only need to check the width and depth of the DJ support tells you all you need to know.

DJ Support: A-Trak, Andy & Jaymo, Annie Mac, Brodinski, Cagedbaby, Damon Martin, DJ Mehdi, Erol Alkan, Filthy Dukes, Groove Armada, Hell, Jesse Rose, Joe Ransom, Kissy Sellout, Kris Menace, Pedro Winter, Riton, Rory Phillips, Seth Troxler, Severino, Shit Robot, Simian Mobile Disco, Thomas Schumacher, Trevor Jackson and The Whip

Retro Grade, (Serge Santiago and Tom Neville) an exciting act on the electronic music scene, revolutionising the world of Italo House with their release titled "Moda." This captivating track, infused with nostalgic vibes and infectious grooves, promises to transport listeners back to the heyday of '90s dance music while maintaining a fresh and contemporary sound.

"Moda" showcases Retro Grade's ability to seamlessly blend classic Italo House elements with modern production techniques. The track features pulsating bass lines, and euphoric synth melodies all meticulously crafted to create an irresistible sonic experience. From start to finish, "Moda" exudes an infectious energy that gets floors moving.

Not content with delivering a stellar original track, Retro Grade enlisted the talents of acclaimed artist Sound Klash to provide a mind-blowing Remix of "Moda." Sound Klash, known for this boundary-pushing approach to music production, puts his unique spin on the track, infusing it with his signature dubbed-out house sound. The result is an extraordinary reimagining that takes "Moda" to different heights, showcasing Sound Klash's unparalleled ability to reinvent and elevate electronic music.

"Moda" and its captivating Sound Klash Remix are set to make waves across the scene.

Three decades deep and as essential as ever, Ralph Lawson's 20/20 Vision Recordings continues to mine its rich back catalogue with care. To that end, 'Full Circle Vol.3' feels both respectful and forward-facing with new mixes of enduring classics. Roman Flugel reworks 'Machine Life' into a driving club sound with fresh vocals and elastic acid lines, while MADVILLA sharpens 'Rhythm Freq' into a sleek hybrid of house, UKG and electro. Simon Baker's updated 'The Liptrick' retains its raw punch, and Formidable Force close with a warm, late-night dub of 'Reactivate'. It is a tidy reminder of the breadth and depth of sound this label has always dealt in.

Psyché is an eclectic project rooted in the Neapolitan music scene. Conceived in 2018, the project includes Marcello Giannini (Nu Genea Live Band, Guru, Bassolino, La Famiglia), Andrea De Fazio (Nu Genea Live Band, Parbleu, The Funkin Machine), and Paolo Petrella (Nu Genea Live Band, Fratelli Malibu). They were recently joined by Roberto Porzio (Parbleu, Fitness Forever, 24 Grana, The Funkin Machine).

"Hurriya (We Must Resist)" is a sonic bridge crossing the Mare Nostrum, connecting the shores of Naples and Tunisia.

At the heart of this fusion is the voice and soul of Tunisian musician Ziad Trabelsi, whose Arab roots intertwine with the psychedelic, Mediterranean sound of Psyché.

In this track, Afrobeat and Arabic sonorities meet to create a hypnotic journey, one where Ziad's oud weaves an evocative groove that gallops like horses in the desert.

The song carries the echo of the ancient dominations and cultural exchanges that have shaped Naples—a millennia-old crossroads of civilization—where traces of Arab and North African influences continue to resonate in its streets and, most notably, in its music.

"Hurriya"—the Arabic word for freedom—is an anthem of resistance and resilience, a dialogue between East and West that dissolves the rigid boundaries of geography and politics. It is a collective song for the freedom of all peoples, against oppression, abuse, and injustice everywhere in the world. As Psyché emphasize: "Even if life tests us severely, and we often feel like giving up in the face of injustice, we must resist. We must refuse to disappear."

The single is available digitally and physically, on January 23rd, as a 7" vinyl. The B-side of the physical release includes an exclusive, extended version of "Hurriya (We Must Resist)", available only in this format.

As Tommy Guerrero puts it, "Road to Knowhere is inspired by its and pieces of EthioJazz, Afrobeat, Highlife, Spiritual Jazz and dusty funk 45's. The album took off after its release, and listeners gravitated to the first two tracks. With millions of streams and continued praise, "El Camino Negro" and "White Sands" remain fan favourite tracks from Guerrero

It's been almost a year exactly since the debut CJP Band 12' was released, Landing just in time for a few nausent plays at We Out Here 2025.

12 months and two more well received 12's later, Most notably of course by festival founder Gilles Peterson, the band find themselves making the short trip from their New Forest homes to the Tomorrow's Warriors stage on Saturday night for their We Out Here debut.

What better way to mark the occasion and round of the (calendar) year of releases with a tasty 7' that perfectly encapsulates festival vibes wherever they might be.

Taking the foot of the gas, For one release at least, Freedom delivers two sides of blissed out summer soul. Heavy drum breaks and the funkiest basslines of course still come as standard with a sweet vocal from guitarist Geoff Lai.

On the flip those trademark CJP strings glide over a stripped back instrumental version for the aptly named String Dub.

Limited Pressing

Hand stamped Sleeve

Don't Sleep

Naná Rizinni is a São Paulo-born drummer, producer, and composer whose work sits at the intersection of progressive electronics, jazz improvisation, and Brazilian rhythmic traditions. After relocating to London in 2020, Rizinni further expanded her distinctive sound, drawing on influences ranging from contemporary UK experimental jazz to forward-thinking electronic music. A respected collaborator and session musician in Brazil, she has performed with artists including Tiê, Johnny Hooker, Ana Cañas, and Thiago Pethit, and has appeared at major international festivals such as Lollapalooza, Rock in Rio, SXSW, and Primavera Sound.

Her new album,Epiblast, is a deeply personal and sonically adventurous statement. Written and co-produced with saxophonist and producer Mark Cake, the album explores themes of transformation, grief, new parenthood, and self-discovery through a rich blend of acoustic and electronic textures. Combining expansive sound design, intricate rhythmic interplay, modular synthesis, and Brazilian musical foundations, Epiblast draws comparisons to artists such as The Comet Is Coming, corto.alto, Mark Guiliana, and Richard Spaven while maintaining a unique voice of its own. Available on vinyl and digital formats, Epiblastshowcases Rizinni's most fully realized artistic vision to date and positions her as a compelling new voice within the global contemporary jazz and experimental music landscape.

Kraak & Smaak formed in Leiden in pursuit of a particular blend of funk, disco and electronic soul, and over two decades and seven albums, Oscar de Jong, Wim Plug and Mark Kneppers have sharpened a sound that's unmistakably their own: warm, analogue, and always twisting old soul into something new. That sound has carried them from small European clubs to Coachella and American late night TV.
Their 2025 album Velvet Seas was written between Leiden and Los Angeles, and it shows: Californian light and a touch of psychedelia sit easily alongside deep funk and a cinematic reach. The record leaned on a wide circle of guests, among them IVAR, Berenice van Leer, Izo FitzRoy, Butter Bath, The Undercover Dream Lovers, iogi, Kosta G and Kainalu.

Velvet Seas Remixed hands the album's best moments to a curated set of international producers. British disco heritage, classic French touch, Brazilian disco funk, Melbourne club music and homegrown Dutch groove all take a turn, with each producer bending a familiar song toward their own instincts while keeping the album's character intact. Longer, extended versions and alternate mixes round out the full release, letting several of these tracks land in more than one form.




a 01: Nothing Is Forever (Yuksek Remix) [feat. Kosta G]
[b] 02: Travel Light (Diogo Strausz Remix) [feat. Ivar]
[c] 03: Velvet Seas (Ray Mang Remix) [feat. Izo FitzRoy]
[d] 04: Heat (Anoraak Remix) [feat. Butter Bath]
[e] 05: Real Love (Harvey Sutherland Remix) [feat. Kainalu]
[f] 06: Tracel Light (Sound Support Remix) [feat. Ivar]
[g] 07: Heat (Stirmouth Remix) [feat. Butter Bath]

[a] A1 | Nothing Is Forever (Yuksek Remix) [feat Kosta G]
[b] A2 | Travel Light (Diogo Strausz Remix) [feat Ivar]
[c] A3 | Velvet Seas (Ray Mang Remix) [feat Izo FitzRoy]
[d] B1 | Heat (Anoraak Remix) [feat Butter Bath]
[e] B2 | Real Love (Harvey Sutherland Remix) [feat Kainalu]
[f] B3 | Tracel Light (Sound Support Remix) [feat Ivar]
[g] B4 | Heat (Stirmouth Remix) [feat Butter Bath]

,Every Martyr Is A Universe" ist das Constellation-Debüt des palästinensisch-kanadischen Gitarristen, Komponisten und Community-Organisators Bilal Nasser. Das Album entstand während der studentischen Protestbewegungen gegen den Krieg in Gaza und setzt sich mit der Frage auseinander, welche Bedeutung Kunst in Zeiten von Gewalt, Verlust und politischer Krise haben kann. Daraus entwickelt Nasser eine musikalische Reflexion über Trauer, Solidarität, Erinnerung und Widerstand. Bekannt für seine Verbindung von klassischer Gitarre, Folk-Traditionen und zeitgenössischen Einflüssen erweitert Nasser auf diesem Album seinen bisherigen Solosound erstmals um ein größeres Ensemble. Gemeinsam mit neun Musikerinnen und Musikern aus seinem kreativen Umfeld in Windsor, Ontario, schuf er vielschichtige Arrangements für Streicher, Bläser, Elektronik und Gitarren, die dem Album eine orchestrale und zugleich intime Atmosphäre verleihen. Das Ergebnis ist ein tiefgründiges, emotionales und ambitioniertes Werk, das klassische Komposition, Folk, Post-Rock und experimentelle Klänge miteinander verbindet. ,Every Martyr Is A Universe" ist zugleich persönliches Statement und kollektiver Ausdruck von Erinnerung, Hoffnung und Widerstandskraft.

Lower the drawbridge, raise the gates. Texas-based composer Graham Reynolds (A Scanner Darkly, Before Midnight, Hit Man) returns to the world of The Portcullis with a brand-new LP of music. This deluxe edition brings together the original album and The Portcullis Expansion Pack across two LPs, housed in a die-cut slipcase.


Following the original album’s release in May 2026, the Expansion Pack ventures deeper into a medieval world of knights and merchants, almoners and thieves. Percussive medieval textures, fretted guitars, brass fanfares, atmospheric strings and piano reshape dungeon synth into something vividly Reynolds’ own: an imagined soundtrack steeped in folklore, fantasy and adventure.


What began as an investigation into Reynolds’ family lineage, tracing his name back to Launceston Castle, has grown into a world extending beyond the record.



Released via Fire Records as part of the Weird Walk Record Cult, the deluxe edition arrives alongside an expanded dice game and a special Portcullis porter created with Skipton Brewing Company.


“One of the most unique and addictive albums of 2026 so far” - Loud and Quiet


“Of all the RPG-infused dungeon synth, medieval ambient records released this year, Graham Reynolds’ will be the finest.” - Loud And Quiet


“Ominous, stark environment that rumbles with sounds evocative of the natural world, in both its beauty and despair” - The New York Times


“A work of great scope, subtlety, and powerful suggestion. (…) Prepare yourself for an immersive experience, full of color and personality.” - Time Out


“Quite extraordinary” - ---- Uncut

Antivenom is the fourth album from Portland melancholic dark alternative trio Darkswoon, refining their blend of darkwave, post-punk, and shoegaze into a focused and emotionally charged statement.

Built on a hardware-driven electronic foundation, the album pairs cold mechanical textures with an intimate human core, carrying Jana Cushman’s ethereally soaring vocals as they con-front themes of loss, anxiety, fear, and inequality with unflinching honesty. Norah Lynn’s melodic, gritty bass lines weave through Rachel Ellis’ propulsive rhythms, while Cushman’s guitar creates a dense sonic web that occasionally drifts into more expansive shoegaze territory.

Cohesive yet urgent, Antivenom unfolds as an atmospheric whole filled with cautionary messages and the weight of words left unsaid, capturing a band confident in its evo-lution and singular voice within the dark alternative landscape

alex albrecht returns to mule musiq with his second release for the label, following his 2022 ep “a clearing.” while “a clearing” explored a more delicate and slow-moving side of his sound, this new four-track ep finds albrecht moving deeper into the rhythm. warm, organic textures, subtle melodies and hypnotic grooves come together to create a sound that feels both deeply electronic and strangely natural.
“in service” opens the record with a driving, spacious groove, gradually revealing layers of melodic detail. the title track, “in the turpid heat of the afternoon,” follows with a deeper and more hypnotic ap-proach, balancing a steady pulse with hazy, atmospheric textures.
on the b-side, “shutter encoder” pushes the rhythmic element further, with a restless, intricate groove and a more kinetic energy. “folding & unfolding” then brings the ep to a more spacious and reflective conclusion, slowing the pace while retaining the subtle movement that runs throughout the record.
across all four tracks, alex albrecht finds a beautiful balance between club music and more contempla-tive listening. it is a natural continuation of his relationship with mule musiq, but also a clear step for-ward from “a clearing” — deeper, more rhythmic and quietly psychedelic.

welcome back, alex albrecht.

Asake’s fourth studio album, M$NEY, marks a major evolution in his career, trading the frantic energy of his early hits for a more polished, cinematic sound. The project explores the intersection of material wealth and divine favor, framing his global success as a spiritual journey. Rather than just celebrating the "soft life," Asake uses this record to reflect on the discipline and faith required to maintain his position at the top of the music world.

Sonically, the album expands his signature Fuji-fusion and Amapiano roots with help from long-time collaborator Magicsticks and international producers like DJ Snake. Tracks like "Worship" bring high-octane electronic energy, while "Badman Gangsta" featuring Tiakola offers a sleek, R&B-influenced collaboration. Throughout the project, Asake balances these high-energy moments with orchestral strings and jazz elements, creating a rich, textured listening experience that feels both global and deeply rooted in Lagos street culture.

At its heart, M$NEY is a balance of celebration and introspection. In tracks like "Forgiveness" and "Gratitude," Asake addresses the pressures of fame and the personal growth he has undergone since his debut. He remains grounded in his Yoruba heritage, blending boastful lyrics with sincere thanks for his trajectory. Ultimately, M$NEY proves that Asake is more than a hit-maker; he is a visionary artist documenting his life and legacy with newfound maturity and style.

When Swingrowers released their debut in Sept 2012, electro swing was a bubbling cultural zeitgeist. This Italian band were among the earliest pioneers who helped shape the sound of the vintage-influenced genre. Their debut 12 track collection paved the way for the brilliant albums that followed and indeed for the ongoing popularity of the genre. A little rougher around the edges but with all the early promise on show, this album completes a 4 piece set for fans and collectors.

Swingrowers went on to release a further 3 studio albums, toured internationally, playing major festivals includingMontreux Jazz Festival, Glastonbury, Boomtown and Tokyo’s Blue Note Festival. Their music has to date amassedmore than 100 million streams worldwide on Spotify alonewith videos clocking up many millions more.

Pronounceditself is a revelation. It stood the test of time as one of the earliest complete and fully-realised Electro Swing albums that seamlessly blend 20’s and 30’s influences - violin, gypsy jazz guitar, saxophones and swing music - with polished contemporary production. Here, superb musicianship meets great songwriting meets a unique modern sound from Swing Hop to Drum n Bass with jazz-inflected vocals in English and Italian.

As we approach the 15 year anniversary, Pronounced is being released on wax for the first time.

This releasecompletes Swingrowers’ entire album discography on vinyl, joining existing editions of Remote, Outsidein and Hybrid.

For long-time fans, collectors and anyone who discovered electro swing through artists such as Caravan Palace and Parov Stelar, Pronounced is a chance to finally own the sound of a young band (and indeed an up-start young genre) at the very start of their career.

Originally released 1996 on the short-lived Picnolypsis Records (DE) - Down D.C. and Analog Consciousness take a side each for a raw, stripped-back excursions into underground acid house. Driven by hypnotic drum programming, rolling low end and corrosive 303-style lines, the record captures the rough-edged spirit of mid-90s European club music. Long buried in obscurity, the record's reputation has quietly grown amongst DJs. The spotlight now shining on it further after Down D.C.'s Acid-House Part 2 was played on Shanti Celeste’s BBC Radio 1 residency.

This first time re-issue features a remix from Pacific Coliseum - alter ego of Canadian artist Teen Daze.

Amidst their illustrious presence in dance music, Âme have been - and seen - a tumultuous evolution in all that surrounds. Genres have splintered and sharpened, melodies reinvented.
Yet, Frank and Kristian continue to stay true to their own meticulously individual art form. The pair muse on all that's been in latest album, "Love Is The Dance", where they reflect on a multitude of sounds that have shadowed their career for 20 years and counting - presenting a collection of tracks that flicker between different worlds and feelings, whilst harmoniously paying tribute to icons such as Underground Resistance and Compass Point Studios.

Between slower gems such as "Water Be My Crown" and "Of Courage", where buttery chords melt into sleek solitude, comes catchy pop-leaning numbers like "Shadow Of Love" and "Pha Na Pha" that carve their own vibrancy; having already painted endless dance floors with endless memories following individual releases. Cemented with club-focused cuts "Asa" and "Love Is The Dance", the album also moves towards familiar Âme territory; and still, threaded through its DNA is the art of collaboration. A substantial essence to Âme's work throughout the years, the duo level-up, as they invite a curated list of friends and artists, including RY X, Henrik Schwarz, Curses and Busiswa. The result forms a curious, all-expansive record that sees Âme creating avenues bolder, stronger - and even more musically diverse.

Amidst their illustrious presence in dance music, Âme have been - and seen - a tumultuous evolution in all that surrounds. Genres have splintered and sharpened, melodies reinvented.
Yet, Frank and Kristian continue to stay true to their own meticulously individual art form. The pair muse on all that's been in latest album, "Love Is The Dance", where they reflect on a multitude of sounds that have shadowed their career for 20 years and counting - presenting a collection of tracks that flicker between different worlds and feelings, whilst harmoniously paying tribute to icons such as Underground Resistance and Compass Point Studios.

Between slower gems such as "Water Be My Crown" and "Of Courage", where buttery chords melt into sleek solitude, comes catchy pop-leaning numbers like "Shadow Of Love" and "Pha Na Pha" that carve their own vibrancy; having already painted endless dance floors with endless memories following individual releases. Cemented with club-focused cuts "Asa" and "Love Is The Dance", the album also moves towards familiar Âme territory; and still, threaded through its DNA is the art of collaboration. A substantial essence to Âme's work throughout the years, the duo level-up, as they invite a curated list of friends and artists, including RY X, Henrik Schwarz, Curses and Busiswa. The result forms a curious, all-expansive record that sees Âme creating avenues bolder, stronger - and even more musically diverse.

An acclaimed international cast of forward-looking artists – Jan Jelinek, KMRU, Lia Kohl, J. Albert, Laurie Torres, Jefre Cantu-Ledesma, Giuseppe Lelasi, Jung DJ and Smoke Point – remixes/remodels tracks from Arp’s transfixing late 2025 album Drifts for Barcelona-imprint Modern Obscure Music (Actress/ Sakamoto, Merzbow). Reflecting Arp’s stylistically-omnivorous approach, each remixer on Echo–Variations represents a unique corner of the music landscape, from the jazzy ambient glitch of storied German producer Jan Jelinek to the overdrivendrone landscapes of Kenyan ambient auteur KMRU to Smoke Point’s no frills club-tool to the haunted ambience of cellist Lia Kohl’s gorgeous electro-acoustic work. One can hear elements of hauntology, post-rock, minimal techno, glitch, spiritual jazz at play. Arp adds a few alternate mixes and two new tracks for good measure, ambient techno floater “Chlorophyll (1998 Mix)” and perhaps the most surprising of all, the dub techno heater “MMXXVI (Dub Mix).” Heart all together, its classic sounding heart RIYL Touch, Millie Plateaux: Creative,meditative, brain cleansing, thought provoking hauntological futurism.

Zwei neue Songs von Thee Headcoats in einem passend an die Smiths angelehnten Cover! Die A-Seite ist aus ihrer kommenden LP "Children Of The Sect" und die B-Seite exklusiv auf dieser Veröffentlichung. Wir haben mit Billy Childish über die Single gesprochen_ Frage: "Hat dir irgendetwas an den Smiths gefallen?" Antwort: "Ja. Les Dawsons Version von ,Girlfriend in a Coma" (ich glaube, das ist der richtige Titel). Eigentlich habe ich sie gehasst, aber sie hatten ein paar ganz ordentliche Songtitel. Ihr Gitarrist kam mal auf mich zu und sprach mich an, als wir mit Modest Mouse in der Albert Hall mit unserer 100-Watt-PA spielten - er war sehr nett." Frage: "Auf dem Cover ist ein Bild von Dave Davies zu sehen. Was gefällt dir an den Kinks am besten? Hast du Ray oder Dave jemals getroffen?" Antwort: "Ich bin in den 1960er Jahren mit den Kinks aufgewachsen, zusammen mit den Stones, den Beatles, Bob Dylan und Jimi Hendrix. Als ich 1977 gefragt wurde, ob ich bei den Pop Rivets singen wolle, schlug ich vor, dass wir ,Hippy Hippy Shake", ,Wild Thing" und ,You Really Got Me" spielen sollten - Was mir an den Kinks am besten gefällt? Ich mag die R&B-Kinks? Daves Gitarrenspiel, und wir alle stehen total auf den tollen Schlagzeuger und Bassisten, und natürlich schreibt Ray gute Songs - also: Was gibt's da nicht zu lieben? Abgesehen von einer ganzen Menge. Ich habe noch nie einen echten Kink persönlich getroffen, aber wir kannten ein Mädchen, das sie im Rochester Odeon spielen sah. Sie und ihre Freunde baten Dave um ein Autogramm, und er jagte sie schreiend den Star Hill hinauf, wobei sein kleiner Stolz und seine Freude heraushingen."