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2026 Repress

Rhythm by Nature is back with Somefink Old, Somefink New, a three-tracker from seasoned producer Grant Dell that bridges past and present: sketches first laid down in the mid-2000s rediscovered and reworked alongside a brand-new cut, forming a dialogue between memory and renewal.

The EP opens with Feel Me?, a deep tech construction driven by a heavy low-end, its groove unfolding patiently while flashes of disco glimmer through the framework. On Light of Day, Dell shifts into full deep house territory — spacey pads and floating strings suspended across open structures until acidic stabs break through, twisting the track into brighter, playful directions. Closing with Death Disco in Dub, Dell channels the hallmarks of his Tribalation project: dub-infused atmospherics, light percussion and echo-drenched fragments circling around a hypnotic core, equally suited to open or dissolve a night.

With Somefink Old, Somefink New, Rhythm by Nature traces the arc of an artist deeply embedded in the underground, reuniting past forms with present gestures in a release that reaffirms the label’s consistency in quality and commitment to timeless club music.

Multi-award-winning singer and songwriter Jorja Smith announces her new album, What Are The Odds featuring sole production from P2J and collaborations with Afrobeat star Wizkid and Grime icon Devlin.

With her third album What Are The Odds, Jorja continues to build on her legacy with a euphoric offering rooted firmly in dance music. Confidently channelling UKG, Grime, 2Step, Funky House, Soulful House and Afro House, this thrilling, pulsating record rarely dips below 140 BPM.

This is music to make you move says Jorja. I want people to hear it on the dancefloor, where the sun is shining, in the car and in their headphones on the night bus home. This is a record for driving and vibing.

COLLECTING ORDERS FOR REPRESS

For our 14th release on OCD we welcome Italy’s veteran producer Niki IL B, an artist whose career in electronic music spans decades. Active since the mid-90s, he established himself as an important figure in the early-2000s progressive house scene. Since then, he has crafted a very personal sound that is refined and distinctive, shaped by a long and diverse journey across genres and driven by a deep-rooted dedication to the craft, emerging from a generation that lived electronic music as a true way of life.
This EP is a showcase of Niki’s ability to confidently move through different moods and to draw inspiration from various genres.

GALA's fourth single, produced by Molella & Phil Jay,
became another international hit and gave its name to her
debut album.

GALA's fifth single, produced by Molella & Phil Jay, and
another standout track taken from her acclaimed debut
album.

Bristol's Ben Pest returns to Co-Accused Records with four drops of full-pelt electro and techno on Lacquer of Empathy EP. A respected live artist and producer known for his production nouse, he’s taken his sound to Co-Accused’s Glasgow parties, Tresor and Glastonbury and released across respected imprints that include Mechatronica, Cultivated Electronics, I Love Acid and more. This release is exactly what he’s become known for turning out: rave-touched and highly effective dancefloor material.

The EP opens with 'D-Transfer', a pacey piece of machine funk which leads into ‘Mam Assid’ which right off the bat is an intensive, driving acid techno number. Over on the B Side, ‘Shruthi EB’ is a twisted machine workout, building and rebuilding through distorted synths before locking into a relentless groove. After being self-released on digital format on his own label The Glutch now gets a vinyl pressing on this EP riffing off a mechanical melody over an air-tight beat. To close out the EP is a digital bonus track with a ‘Rolling Edit’ of Shruthi EB.

»Ampersand Curve« initiates a brilliant new phase of work by North Manchester’s most elusive artist, best known as Michael J. Blood. His string of ruffkut club bangers, as well as jams with Rat Heart & Samizdat over the past seven years, have made his records a true cult property, and now find him signed to one of the UK’s most foundational techno imprints – more of which later this year.

But under the Sees aegis, he swims in very different waters, following his instincts to use the studio-as-instrument to produce his most impressive, deep-minded work, made from – and for – the heart. Where MJB was all about off-the-cuff club jams cooked for immediacy, his new stylistic switch reveals myriad worlds of influence swirling under the hood, where interrelated spheres of spiritual jazz, dub, ambient, and concrète more clearly light up his rich inner world.

As the story goes, MJB was burgled a few years back and lost most of his studio just as the project was hitting its stride. It prompted a personal review of his practice, re-learning new kit, allowing him to bend the rules. Adopting a sort of first-thought, best-thought approach to composition, the new methodology fuelled a renewed imagination in flux, or what he identifies as Sees: a personalised way of conveying complex emotions. That undoing of musical and mental conditioning opens the walls of his music to vast new horizons. Opener »Ithaca« fathoms sonorous midnight jazz with 10 mins of a plangent, searching sax solo in HD widescreen, like some alternate version to the Blade Runner Love Theme, while a resonant vocoder soliloquy, »Unseem«, reaches into space harmonised between Alvin Lucier and Ron Trent, and »Sheer« chases the devil out of labyrinthine dub dimensions.

The floating dream architecture of »Caprices« caps the LP’s underlying narrative and painterly qualities with a romantic conclusion of blushing pads and shivered, metallic echoes of the subtropical that suggest a coming-to-terms with worries, refreshed and good to go again.

Tape

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy" Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

To celebrate the launch of the 4th and last DLC of Atomic Heart, Kid Katana Records teamed up with Mundfish to bring you this high quality album for the first time on an exclusive double vinyl.

With over 10 million players since its release, and a nomination at the 14th Hollywood Music in Media Awards, Atomic Heart has kept on bringing new content in the game, enriching the players’ experience with new Stories, Threats and Music to pursue the fight for freedom and progress.

The physical edition is a premium 2LP designed in close relationship with the game's creative team: Track selection handpicked by Atomic Heart team, including tracks from Mick Gordon, GeoffPlaysGuitar and Boogrov, and 1 new track (DLC #4 trailer exclusive) 2-colored vinyls with unique red and black “corona” effect: handmade vinyl effect melting red and black colors to shape a unique vinyl color on each product, mirroring the cover art.

Exclusive cover art with mat finishing and glossy effect on the Twin and motorcycle

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

Of the album, Amelie says:

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

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

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

This vinyl compilation brings together some of the key pillars of Mexican Tribal and celebrates the artists who helped shape one of the most distinctive languages in electronic music made in Mexico.

Produced by Sabotaje Media, Trucha Soul Records, and La Chekera Records, the record works as a physical archive of Tribal's history, connecting generations, territories, and visions that have kept the genre alive and in motion.

Some records arrive with a clear purpose.

Others take years to reveal why they belong together.

PLNK008 is the first solo release by Natural Goofy on Planka Records. Following a series of appearances across various labels and collaborations, this record offers a deeper look into the sound he has been quietly shaping over the years.

A collection of recordings gathered over time, connected less by genre than by a shared sense of mood and movement.

Rather than chasing functionality, the record follows instinct. Loops are allowed to breathe. Details appear slowly. Tension builds almost unnoticed. Elements drift in and out of focus. The intention was never to arrive somewhere quickly, but to stay inside a feeling for as long as it remains interesting.

The release also includes a special reinterpretation of one of the EP's tracks by dear friend and talented Italian producer Shkedul.

The original version of the track will be available exclusively as a digital bonus on Planka's Bandcamp.

These tracks were not designed to demand attention. They reward it.

For those willing to spend time with them.

Limited edition. Vinyl only.

If It Aint Jazz, is about quality over quantity, inviting world class musicians and producers to bring a modern edge to jazz and soul roots...

Back for Volume 5 of their vinyl only series, this time they invite young Australian artists Close Counters. The duo effortless blends jazz, disco and soul with house and broken vibes for yet another killer 12".

On the A side, 'Sunshine' flips a classic gospel cut into a euphoric anthem with a raw shuffling groove that will work for the house heads and broken beat and garage fans.
'Soul to Soul' features a catchy bassline, vocal chops and added synth parts that build into a peak time disco weapon.

On the flip side, 'House of Lucien' and 'Bruk of Lucien' gives us two electric grooves that have already been setting dancefloors on fire !

Cosmic Breeze Records is happy to present From Above, from Brussels based producer Bass Toast, an artist who has spent years honouring and preserving the rich musical house heritage. Bass Toast has always had an enormous will to connect what separates.From the early New York House to intricate broken beats, he’s been spending the last few years colliding different genres, soulful at heart, both club and non club, comfortable and uncomfortable, celebrating the floor and the grace of simply listening.The A side opens with African Girl, sexy and sensual, moving you in slowly before FromAbove takes you on a whimsical Latin journey, before Stance closes it out with a broken beats jazz and intricate drums that reward every listen. The B side shifts weight, Chucho and Watch And Remember are both club-oriented, propelling without ever losing the thread that runs through the whole record, before Childhood Memories closes everything down with grace.

“A lot of people run to see who’s fastest. I merely run to feel the breeze.”

Manonmars’ 3rd album sees him at his most amorphous and psychedelic, at points sharper and laser focused, and at others more blurred and impressionistic than his previous records. Many of the core players remain the same, all of the production is once again handled by O$VMV$M (the duo of Neek and Amos Childs of Jabu) while Paulina Korobkiewicz (also of Young Echo) makes a return handling both the album’s cover artwork and contributing a series of diaristic field recordings and voice notes.

‘The project references movies, cartoons, fictional characters and video games, among other things. The album title is open to interpretation but all of these elements are forms of visual entertainment which have their own unique ability to transcend things like language barriers and cultural divides. The visual element is key because those details bridge the gap on a communicative level.’ - Manonmars

The album blends abstract, blurred braggadocio with more immediate personal details such as on ‘Volcanic Shield’ a posse cut of sorts featuring Bristol improv luminary Dali de Saint Paul and Franco Franco (½ of cyborg rap duo Kinlaw & Franco Franco) - where Mars recalls;

‘Memories of brighter days, happy meal hit the spot
Mum was spinning vinyl playing Super Ape or Pressure Drop
I would spend the weekend with the Turkish mandem on the block
single parent household, mum was studying or on the job
money came and went always was an on and off
made it back from school time to see what’s on the box’


The beat fades away to leave one of Korobkiewicz’s recordings of Mars’ mum talking about her life in London in the 80s, spending her money on reggae records as an ambient chord fades in like an echo of a jungle intro – stretching out as a link between generations of UK music.

The production by and large is brighter and more kinetic than earlier Manonmars records – with O$VMV$M drawing on everything from modern underground rap and drill through to jazz and acid ambient passages.

London is also a central character here, bustling and constantly shifting, either when bleeding in through field recordings, or as an ever-present backdrop in the lyrics;

‘I’m a fusion of Tippa Irie and Topper Harley
Hit the target like the black Atari
I dropped a tab now shit’s A Scanner Darkly
Got the munchies, Imma yam a sarnie
Pour the Wray and Ting like man at Carni
Exit Peckham Rye and turn left, walk past Hannah Barry
Get your (w)raps up like its January’

‘I've always considered London my home, despite spending some time in the South West of England too. My mum had been living in London for 25 years (...) That was a pretty big deal in some ways because it removed us from multicultural society during the period which overlapped with my teenage years. (...) I never got used to how quiet it was in the countryside (...) Bristol was the closest city to where we lived and it was through travelling there and making connections that I became involved in making music and playing gigs.’ - Manonmars

Mars’ practice as a painter (under his given name Jack Martyn Richardson) and photographer also loom heavy over the album, he cites Paul Verhoeven, Abdul Mati Klariwein and H.R Giger as influences – as well as Miles Davis, Drakeo the Ruler and DJ Rashad.

As with much of Richardson’s work the raps at times feel blurred to a point of almost inscrutability, creating a distance between the audience and himself. A process that ties into his visual work and the way he experiences the world as mainly abstract colour without his glasses. He explores this further in an ongoing visual collaboration with Korobkiewicz, ‘Fun and Games’ which serves as a visual archive of one of London's largest and oldest travelling fairgrounds.

‘I was diagnosed with very severe short-sightedness at the age of seven. I remember my early formative years as visually blurred. Some of my photography reflects this experience of partial vision and uncertainty, referencing memory and perception rather than fixed representation.’

Manonmars’ first public outing as a rapper was at a Young Echo radio event, broadcast shambolically from a practice room just off Jamaica street, Bristol in 2011, as much as things have moved on both stylistically and in terms of focus - strong links back to the city remain a key foundation throughout the collaborations and guest appearances.

‘I have no problem with being an outsider looking in. One of the things I enjoy about London is the anonymity (...) it's easy to be a stranger here when so much is happening. I feel like thats more valuable than people may realise.’

New Japanese Ambient Electronica from Tokyo

Composing primarily with the piano, Kotaro Maruyama creates music for a variety of visual media, including commercials and short films. Influenced by the composer Toru Takemitsu, he places importance on the “silence” and "ambience" of sound, aiming to create works where the music quietly depicts a scene.

Kotaro Maruyama's first solo album, "Vapor Curve," is constructed entirely from the sound source of the OP-Z digital synthesizer. Notably, he avoids the concept of harmony for a single tone, instead pursuing a unique "woven harmony" created by intricately layering multiple independent melodies. Using only the OP-Z, and recording everything in a single take without using a computer, Kotaro Maruyama's "Vapor Curve" is distinguished by its uncompromising production style. The minimalist melodies that are layered to create an ambient soundscape, along with the incidental noise that gives an organic texture to the inorganic electronic sound, showcase the raw appeal of sound that is imperfect."

Originally scheduled for release September 2025, this album faced delays due to a series of errors involving the distributor, pressing plant, and cutting engineer. However, earlier this year, Personal Affair teamed up with a new distributor, Rubadub, who introduced them new pressing plant, allowing them to restart the entire pressing process from scratch. Emerging from Tokyo via Glasgow, this release is now ready to deliver a fresh sound to the world."

BUCHLA MEETS ORCHESTRA IN QUADRAPHONIC SPACE ON CIANI/ORKEST

Suzanne Ciani, Metropole Orkest and Simon Dobson release historic immersive performance in multiple immersive formats including quad vinyl.

Silverlake, CA \\ June 4, 2026 – Electronic music pioneer and five-time Grammy nominee Suzanne Ciani joins the internationally acclaimed Metropole Orkest, conducted by Simon Dobson, for the release of CIANI/ORKEST, a landmark live album composed entirely of new work, created specifically for this unprecedented collaboration.

Recorded at Amsterdam Dance Event (ADE) before a rapt audience, CIANI/ORKEST is not a retrospective. It is a bold, immersive meeting of the Buchla electronic instrument and 50-piece orchestral sound. The result is a sweeping sonic landscape, at once intimate and monumental.

Under the direction of the Metropole Orkest, renowned for its genre-defying collaborations with artists from jazz to contemporary classical - strings shimmer, brass swells and woodwinds echo the organic, fluid qualities that have always defined Ciani’s sound. “This project feels like a homecoming,” says Ciani. “The Buchla was always orchestral to me, an instrument capable of infinite color. Hearing those colors unfold through the Metropole Orkest has been profoundly moving.”

At the heart of CIANI/ORKEST lies Ciani’s lifelong commitment to quadraphonic sound. From her early Buchla performances in the late 1960s to her 2018 release LIVE Quadraphonic, Ciani has treated space as a primary compositional parameter. Working alongside immersive producer KamranV, Ciani continues to explore immersive sound as both artistic and human gesture. Kamran’s decades of work in spatial formats, converge here in service of a singular goal: to let sound behave as it does in the physical world. “For both of us, quad is musical,” Kamran notes. “The way Suzanne works, quadraphonic is nested in — not the technology per se — but the intent you bring to the work.”

The recording stands as a meditation on legacy, evolution, and the enduring dialogue between technology and human expression. The live album captures the electricity of performance, the immediacy of touch plates under Ciani’s hands, the collective of musicians responding in real time, and the audience’s shared immersion in quadraphonic-inspired space.

CIANI/ORKEST is released by Atmospheric/AKP Recordings/CyKiK in multiple double-disc quadraphonic 12” Record packages designed by grammy-nominated designer Rebeka Arce. Each pressing is made regionally to minimize carbon emissions and also contributes to nature via Brian Eno's EarthPercent, the music industry's climate and nature foundation.

The release is encoded using the dublab Quadraphonic Universally Accessible Resource Kit (QUARK). QUARK enables binaural listening via standard 2-channel playback or 4-speaker playback via Involve Audio hardware decoders, vintage Regular Matrix quadraphonic receivers, Dolby Pro-Logic II/Dolby Surround Upmixer (DSU) receivers, or any multi-channel audio interface equipped computer. This album is immersive via all formats: digital download, streaming (Qobuz, Spotify, SoundCloud, Bandcamp), radio broadcast, vinyl and high-resolution Dolby Atmos (Apple Music, Tidal, Amazon HD, IIA), Sony 360RA (Nugs, Amazon HD) and Eclipsa Audio (YouTube).

About Suzanne Ciani
Suzanne Ciani is a composer, pianist, sound designer, and electronic music pioneer whose work spans experimental, new age, classical, and cinematic sound. A five-time Grammy nominee and recipient of the Moog Innovation Award, she continues to perform internationally, captivating audiences with immersive modular synthesis performances.

About Metropole Orkest
Based in the Netherlands, the Metropole Orkest is one of the world’s leading genre-crossing orchestras, known for collaborations with artists including Brian Eno, Herbie Hancock, Snarky Puppy, Jacob Collier, and within contemporary classical and electronic spheres.

A Chicago soul legend meets the West Coast's most reliable modern funk architects on this red-hot 7". Doug Shorts' story stretches back to 1971 and his band Master Plan Inc., and his career has earned him releases on Daptone, Cherries and Jazzman as well as a reputation for songwriting and vocals that go straight to the heart. Here he joins Cosmic Slide for something that bridges generations like a boss. Both cuts are modern funk grooves laid down with craft, rooted in soul but with a new school swag. Shorts' deep, restrained voice remains as expressive and lived-in as ever over the duo's tight, ass-wiggling production. Pure vibes.

French producer Yse Saint Laur'ant is exactly the sort of artist you want to hear from as the sun begins to shine more often. He's a master of escapist, beauty, classy grooves that marry disco and Balearic into pure magic. 'Space Ride' does that on a bubbly groove with a cosmic edge and 'Saint Tropez' brings loose-limbed funk and boho percussion to a Provencal sound. 'Monaco' is bathed in sunlight and made all the more classy with some gorgeous stings and mellifluous chord work then 'Esplanade' shuts down with a dubby, flute-led sound with a whimsical charm. Twenty First release on the much sought after Vinyl Only label.

Jewel Kid debuts on Rekids with the ‘Explicit Behaviour’ EP. Malta’s Jewel Kid debuts on Radio Slave’s Rekids with the ‘Explicit Behaviour’ EP on 14th August 2026. It follows two decades carving out his place in the House scene with releases on labels including Abode and Toolroom, while heading up his own Alleanza imprint. He was a winner of the Carl Cox Worldwide Remix Competition and a recipient of the Best Dance Production award at the Malta Music Awards, while his music routinely dominates charts such as the Beatport Top 10.

The title track of Jewel Kid’s ‘Explicit Behaviour’ EP opens with swirling synths, sirens and filtered vocals before erupting into chunky drums, classic piano stabs and crisp percussion, while ‘In The Dance’ channels early Chicago infl uences through hypnotic vocal hooks, tense synth work and bold analogue grooves. Closing cut ‘The Tribute’ rounds things off with rolling drums, sweeping filters and fuzzy synth textures that steadily build pressure into another heads-down dancefloor workout.

“La Conga Vieja” channels the spirit of the Nickodemus, Quantic and Tempo’s evergreen hit “Mi Swing Es Tropical” - a driving 4/4 groove built on Afro-Latin percussion, salsa piano, and punchy horn lines. What started as an improvised moment at a Puerto Rico show playing a borrowed, decades-old conga became the foundation for this uptempo dancefloor cut. Featuring vocals from Puerto Rican poet Flaco Navaja and trumpet from Carlos Sarduy, the track blends classic Latin rhythms with modern club sensibility. Perfect for DJs moving between tropical, house, and global sets. Includes a bonus beat, radio edit, and instrumental.

This release pairs 'In the Heights' standout Flaco Navaja with Grammy Award–winning trumpeter Carlos Sarduy (Chucho Valdés), delivering a globally rooted, crossover-ready sound. The track comes from internationally respected producer/DJ Nickodemus, whose catalog spans five albums and 11 Turntables on the Hudson compilations, backed by strong digital metrics (52k+ followers, 704k+ monthly listeners, 300M+ streams), including “Mi Swing Es Tropical” (63M+) and multiple other high-performing tracks. The release also features Italian percussionist Gabriele Poso, whose catalog has surpassed 10M+ streams. Nickodemus tours globally to consistent demand, with strong listenership across the USA, France, Spain, Germany, UK, Netherlands, Mexico, Italy, Canada, and Australia. Supported by press in Billboard, Rolling Stone, Complex, The FADER, and Paste, plus global radio (BBC 6, FIP, RFI, KCRW, KEXP).



c 03: La Conga Vieja (Radio Edit) feat. Flaco Navaja & Carlos Sarduy
[d] 04: La Conga Vieja (Rado Edit Instrumental) [feat. Flaco Navaja & Carlos Sarduy]



[c] 03: La Conga Vieja (Radio Edit) [feat. Flaco Navaja & Carlos Sarduy]
[d] 04: La Conga Vieja (Rado Edit Instrumental) [feat. Flaco Navaja & Carlos Sarduy]

Joaquin ‘Joe’ Claussell returns to the Spring Revisited project, and he delivers another jazz-infused house mix of a classic funk track by the iconic Fatback Band. Spring Revisited is collaborative project between Ace Records and Acid Jazz, inviting influential house music producers to reinterpret classic tracks from seminal New York label Spring Records, a pioneer in funk, soul and disco. After a series of sell-out and chart-topping 12” and 7” releases, as well as a 2LP compilation, the project continues with these two new mixes of the Fatback Band’s ‘(Do The) Spanish Hustle)’. Claussell combines the original classic funk elements with Latino percussion and samba-styled trumpets.

First up is his 'Sacred Rhythm Version’, which lifts the tempo and loops a section of the original's percussion. Keeping the trumpets, and soulful vocal phrases, he adds a DJ-friendly kick drum and shows off his improvisation skills with a vibrant synth line. On the flip, he strips back some of the drums and horns and focuses on the bassline with the 'Spanish Harlem Dub,' which is a moody rework utilising some funk-infused organ chords. On the original track Joe says: "I can vividly recall the very first time I heard Spanish Hustle blasting through my brother Jackie’s stereo system. Not long afterward, I experienced its energy again on the dance floor at a discotheque known as The Inferno, where it was masterfully delivered by the legendary René Hewitt. The record left an imprint on my spirit that never faded.’ A spectacular continuation of the series, presented in the nowsignature Spring Revisited housebag, resembling an original worn-in promotional 12”, pressed in a strictly limited run!

2026 Repress

Priori returns to Kynant Records for an EP of dubbed-out, eyes-down house and techno.
The Montreal-based artist explores dense, patient grooves, assisted by singular Jamaican voice Gavsborg on the opening track.

Written & Produced by Francis Latreille
Vocals on A1 by Gavin Blair
Artwork by Grant Gibson
Mastered by Anne Taegert (Dubplates & Mastering)

'Channel Zero is a new release produced by the London-based Brazilian artist Protocol. It is made up of 4 unprocessed live jam recordings of heavy, stripped-down techno. Composed over a period of 2 years, the artist focuses on experimenting on the far edges of techno, inspired by early avant-garde music, drone, and Musique Concrete. It comes in a hand-numbered limited edition of 180g black labels, in a 3mm inside-out cover with a black inner-sleeve.
'The work is a confirmation that techno still thinks forwardly, but pays homage to its mostly overlooked origins. The titles come from one of the early Cybernetic Culture Research Unit essays, also named Channel Zero.
'Lost Signal (Noise) opens up the EP with reverberated static noise, followed up by a deep bass with more layers of percussion and atmospheric noise patterns, slowly evolving into unexpected rhythms. The second track, Blind Belief, is composed of a deconstructed kick sequence, with machinic-like sound structures in the background and a hi-hat that morphs with various envelopes, together with a nostalgic 909 rim-shot. Turning to the B side, Electromagnetic Shadow is an atmospheric four-to-the-floor techno track, where deep kick drums and polyrhythmic noise soundscapes move into industrial noise pattern. Closing Protocol's debut EP, Black Snow Cult brings together the EP's sound palette into aggressive patterns of Birmingham-esque industrial percussions, where synthetic sounds are put together in primitive sounding sequences together with high pitched frequencies.'

OOZ proudly presents the sixth instalment on the label with Nate Oldfield’s inaugural solo EP. Informed by minimalist techno and intuitive modes of machine music – made predominantly with hardware – Nate puts forth a record that feels as though it’s dancing out of the shadows and into the light. Eery chords and vocals are paired with sharp percussive rhythms by a producer that seems to revel in the play of music-making. At points stark and almost plaintive, the depth of feeling throughout the record is contrasted by the playful nature of how sound is manipulated. Grooves plod along to cold, melodic chimes, guitar plucks and a discussion about walking through Danson Park near Nate’s hometown of Abbey Wood, South-east London.

ZIRP! is the new album from DIIV, produced by pop mastermind A.G. Cook. this is not a niche record for music understanders only. this is our POP record. this is our extremely accessible mainstream alternative rock record. what does alternative mean? we are saying, ZIRP! is what it means. are we joking? not really. this record is FUN. everywhere “Frog” was serious, ZIRP! is fun. it was fun to make, and it is fun to listen to. life is hard. ZIRP! is easy.

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

Leap Life is Saul Williams’ first solo album in over 10 years and marks a major return for one of the most influential voices in spoken word and experimental music. Named after Saul’s leap year birthday, the project has been carefully sequenced by composer and producer Carlos Niño as a fully immersive, front-to-back listening experience.

The album expands Saul’s sound into electronic and ambient territories while remaining rooted in spoken word, with rich sound design built from nature recordings, environmental textures, and expansive instrumentation. It also sees Saul step further into the role of producer, drawing influence from Fela Kuti, Black church traditions, and South African electronic music. The record features a standout cast of collaborators including Kamasi Washington, Georgia Anne Muldrow, Moor Mother, Gonjasufi, and Surya Botofasina, alongside material developed with Robert Del Naja (Massive Attack). Released via Big Dada, the album marks a full-circle moment with the label where Saul originally launched his solo career.

On its latest must have release Roots Recordings takes us to the West Coast of the United States which has traditionally been a hotbed of deep, dreamy and dubby house. This is the first ever vinyl outing from Los Angeles producer Mullie Graf. There are two original cuts on show: the sub-heavy, hypnotic and increasingly acid-fired chug of 'One More Chance' and the deeper, dreamier, warmer and partially organic 'Hang On', a cut that recalls the trademark sound of San Francisco's Dubtribe Soundsystem. Fellow Californian producer Natural Rhythm provides remixes of both, following a tough, acid house-meets-dub-house pass

This Mirror Weighs a Ton, Interpol’s first album in four years and debut for Partisan Records, finds the band turning inward while continuing to move forward. Across the record, reflection, distortion and perception become a lens through which familiar shapes are refracted into something slightly alien, as if seen through a different kind of light.

Produced with Grammy- and Oscar-winning Andrew Wyatt (ROSALÍA, Charli xcx) and mixed by Dave Fridmann, the album introduces vibrant new textures into Interpol’s world. Synthesizers, strings, acoustic guitars and percussion are integrated into the fabric of the songs, expanding the palette while revealing colors already latent within it. Nothing feels imposed. Instead, the additions deepen the band’s language of restraint, atmosphere and tension. At its center remains the creative relationship between Paul Banks, Daniel Kessler and Sam Fogarino, a partnership now approaching three decades and defined by intuitive alignment and momentum that continues to generate new possibilities. The result is an album that feels expansive, uncanny and alive with forward motion, not a reinvention but an evolution that allows Interpol to continue transforming without losing their identity.

“This Mirror Weighs A Ton” / “See Out Loud” is a study in duality, with Interpol moving fluidly between familiarity and departure. The title track unfolds from a skeletal progression into something vast and textural, built from warped bass, a wordless female voice and a sense of motion that feels tidal, bending the band’s familiar language into somewhere more expansive and unfamiliar. By contrast, “See Out Loud” carries the DNA of Interpol’s earliest work, sharp, propulsive and direct, while complicating it through layered vocals, shifting perspectives and a rare lead vocal turn from Kessler. Both tracks reflect the interplay between structure and spontaneity that defines This Mirror Weighs a Ton, expanding Interpol’s world through fresh textures while keeping the instinctive chemistry between Banks, Kessler and Fogarino at the center.

The double single is accompanied by two visualizers directed by Nick Steinhardt.

Als wir zuletzt von Marci (alias Marta Cikojevic von der Soft-Rock-Band TOPS aus Montreal) hörten, tanzte sie auf ihrem 2022 erschienenen Album ,Marci" den Schmerz weg. Vier Jahre später kehrt Cikojevic mit ,Mask Lady and Late Night Girl" zurück - einem Album voller Hymnen für Partygirls für die Zeit, wenn die Party vorbei ist, vorgetragen mit Liebe und Mitgefühl für die guten Zeiten und die schönen Erinnerungen. Erneut in Zusammenarbeit mit ihrem TOPS-Bandkollegen David Carriere entstanden, enthält ,Mask Lady" Elemente, die sowohl von den chaotischen Pop-Girls der Y2K-Ära wie Uffie und Kesha als auch von Cikojevics Liebe zu Powerballaden-Sängern der 80er wie White Snake und Def Leppard inspiriert sind, zusammen mit den Vintage-Synthesizern, die ,Marci" eine warm-futuristische Ästhetik verliehen. Glam-Metal-Einflüsse treten bei ,Chaotic Princess" in den Vordergrund, geschrieben und produziert mit Mike Silver (CFCF), einem über-die-Spitzen-gehenden, gitarrenlastigen Knaller über eine verrückte Nacht, in der Cikojevic einen Polizisten anfleht, sie nicht ins Gefängnis zu bringen - Eddie Van Halen auf dem Beifahrersitz, Britney am Steuer.

Graham Hunt kann einfach nicht aufhören, Alben aufzunehmen. Seit 2019 hat der in Madison, Wisconsin, lebende Songwriter ein umfangreiches Repertoire an einzigartiger Musik zusammengetragen - in einem Tempo, das nur von der Qualität der Werke selbst übertroffen wird. Nun, bereits bei seinem sechsten Album ,American Pyramid", hat Hunt sich aus seiner Komfortzone herausgewagt, die bodenständigen, computerorientierten Experimente seiner früheren Arbeiten hinter sich gelassen und stattdessen Minnesotas legendäres Pachyderm Studio mit einer neunköpfigen Band, um zu versuchen, eine andere Seite seiner grenzenlosen Kreativität einzufangen. Das Ergebnis ist ein Album, das musikalisch und textlich neue Wege geht, wobei Hunt mit seinem surrealistischen Ansatz sowohl die Traditionen des amerikanischen Indie-Rock als auch die beunruhigende Distanziertheit der amerikanischen Erfahrung selbst seziert. Zusammen mit einer Reihe von Multi-Instrumentalisten aus früheren Besetzungen seiner Live-Auftritte zog Graham ins Pachyderm Studio, den berühmten Aufnahmestandort unzähliger Kultalben, von Nirvanas ,In Utero" und PJ Harveys ,Rid of Me" bis hin zu neueren Alben wie ,Sugaregg" von Bully oder ,Once Twice Melody" von Beach House. Die Session erwies sich als fruchtbar, da die meisten Songs, die es auf ,American Pyramid" schafften, jene maximalistische Ambition ausstrahlen, die in Grahams meisterhaftem Songwriting offensichtlich ist - doch nachdem er nach Hause zurückgekehrt war, wurde Hunt von noch weiterer Inspiration erfasst - und das Album schwelgt in der Dualität beider Prozesse. Tracks wie der bei Pachyderm aufgenommene Rave-up ,Riverboat Blues" gehen nahtlos in die zu Hause aufgenommene Musik wie ,Dust Underwater" über, wobei beide in eskapistische Fantasien abdriften, in denen lebhafte Produktionselemente die surreale Erzählung untermalen. Oder anderswo bietet der Album-Highlight ,Getting Older" einigen von Hunts unmittelbar befriedigendstem Gitarrenpop und die bodenständigsten Texte auf ,American Pyramid". Die Fähigkeit, so viele verschiedene Klänge, Emotionen und Stimmungen zu vereinen, macht Graham Hunt zu einem so besonderen Songwriter. Nur sehr wenige würden es überhaupt versuchen, Westerberg-artigen Everyman-Rock mit gonzoartigen, autotune-bearbeiteten Gesangspassagen oder psychedelischen lyrischen Abstraktionen mit offenherzigen Gedanken über den unaufhaltsamen Lauf der Zeit zu kombinieren - und noch weniger könnten das so umsetzen, wie Hunt es auf ,American Pyramid" tut.

This Mirror Weighs a Ton, Interpol’s first album in four years and debut for Partisan Records, finds the band turning inward while continuing to move forward. Across the record, reflection, distortion and perception become a lens through which familiar shapes are refracted into something slightly alien, as if seen through a different kind of light.

Produced with Grammy- and Oscar-winning Andrew Wyatt (ROSALÍA, Charli xcx) and mixed by Dave Fridmann, the album introduces vibrant new textures into Interpol’s world. Synthesizers, strings, acoustic guitars and percussion are integrated into the fabric of the songs, expanding the palette while revealing colors already latent within it. Nothing feels imposed. Instead, the additions deepen the band’s language of restraint, atmosphere and tension. At its center remains the creative relationship between Paul Banks, Daniel Kessler and Sam Fogarino, a partnership now approaching three decades and defined by intuitive alignment and momentum that continues to generate new possibilities. The result is an album that feels expansive, uncanny and alive with forward motion, not a reinvention but an evolution that allows Interpol to continue transforming without losing their identity.

“This Mirror Weighs A Ton” / “See Out Loud” is a study in duality, with Interpol moving fluidly between familiarity and departure. The title track unfolds from a skeletal progression into something vast and textural, built from warped bass, a wordless female voice and a sense of motion that feels tidal, bending the band’s familiar language into somewhere more expansive and unfamiliar. By contrast, “See Out Loud” carries the DNA of Interpol’s earliest work, sharp, propulsive and direct, while complicating it through layered vocals, shifting perspectives and a rare lead vocal turn from Kessler. Both tracks reflect the interplay between structure and spontaneity that defines This Mirror Weighs a Ton, expanding Interpol’s world through fresh textures while keeping the instinctive chemistry between Banks, Kessler and Fogarino at the center.

The double single is accompanied by two visualizers directed by Nick Steinhardt.

Independent Belgian artist of Congolese descent MAHINA explores an eclectic voice where soul, Afrocentric melodies, R&B, reggae , and both acoustic and electronic sounds intertwine, carried by percussion. ZAZA is MAHINA's long-awaited debut EP.

Moving between deep introspection, spiritual messages, and enchanting harmonies, Mahina embodies a new voice - both innovative and singular. Her ambition is clear: to make listeners feel, heal, resonate, and find a space where music becomes a language of truth and elevation.

Alongside her music, Mahina has performed in the critically acclaimed theater production Dear Winnie (KVS & NNT) and appeared on screen in the short film Le retour des femmes colibris by visual artist Patricia Kaersenhout.

Zaza is much more then just an EP, it is an inner quest, a journey through love, faith, vulnarability and resilience. Through an eclectic sound palette : soul, Afro-rhythmic, R&B, reggae, acoustic and electronic. Mahina offers a unique identity, both intimate and universal.

This adventure is conceived as a breath, a space where emotions and spirituality meet. Balancing fragility and strength, softness and intensity, Mahina unfolds a sincere and captivating voice that seeks to make listeners feel, heal and resonate.