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Detroit Legend, Rick Wade joins Collect Records for the first time with Just Beneath EP. A key figure in Detroit's second generation of house producers and founder of Harmonie Park, Rick Wade delivers three deep and hypnotic cuts rooted in jazz, soul and classic machine funk. Warm, stripped-down and functional, with one acid-leaning track adding extra tension to the EP. Underground house music for late night hours. Collect Records operates from Collect, the Lisbon-based record shop and radio located in Cais do Sodre, a meeting point for DJs, collectors and the local underground scene.

Delsin's Inertia sub continues their dancefloor focussed series with a fierce four-track EP by Danza Nativa co-owner Forest On Stasys. Influenced by tribal minimalist techno in the nineties and the abstract side of contemporary techno his first EP on Delsin includes all of this. A flawless pack of well balanced playful yet deep immersive techno.

Ruriko Ogami’s “Typhoon Lady” is set to be released on colored vinyl!
This reissue also includes “ONE LAST LOVE”, a track originally featured as the B side of a single and not included on the album.
The latest remastered audio comes from the album and single, archived in 2018 from the original analog master tapes at 96k/24bit.
Boosted by the popularity of Japanese grooves and further propelled when Japanese creators sampled “Sexy Woman”, the album’s reputation skyrocketed,
driving original vinyl prices to unprecedented highs. Beyond that, tracks like “Typhoon Lady”, which opens with a drum break that exudes funk, and the mellow
“Fuwari Fuwafuwa”, with its tight performance and floating vibe, remain timeless masterpieces even 40 years after their original release.

Andrés Landero embodies like no other the spirit that made it possible to bring cumbia to the world. The two cumbias included on this 45 have been taken from his rare and never-reissued 1979 LP on Discos Fuentes. They became popular rebajadas (slowed down cumbias) in the Mexican sonidero scene and have not been previously available on 45. First-ever reissue. Andrés Landero legacy represents a creative pinnacle of tropical music and has influenced countless artists. In 1965, he joined the line-up of artists on Discos Fuentes' payroll. After some years releasing music on different labels, Landero returned to Discos Fuentes in 1979 with the album "Bailando cumbia". The two cumbias included on this 45 have been taken from this rare and never-reissued LP. They became popular rebajadas (slowed down cumbias) in the Mexican sonidero scene and have not been previously available on 45.

Limited to 300 copies. No repress.

This is Queenie DJ and Music producer from China I’m thrilled and honoured to have YangBing — a true master of Chinese electronic music — join this project with his remix for spring

About this EP — “Four Seasons (IIII Season)”It took me two years to complete this album (from pre production to Released )
This EP was inspired by the distinct feeling and atmosphere of each season. The four vinyl colours reflect that same seasonal bloom.

Track by Track:

1. Spring (Splash Fluorescent Pink Vinyl)
This song was born during Spring Festival in Guangzhou. To capture the local spirit, I sampled the classic Cantonese opera “The Princess’ Flower” — a touch of tradition. YangBing’s remix then injects vibrant electronic energy, making the track blossom with the renewal of spring.

2. Summer (Splash Blue Vinyl)
I was sitting by the sea in Xiamen, coffee in hand, feeling the sun and ocean breeze wash over me. Right then, it hit me: a jazz-house tune would be the perfect soundtrack to that summer afternoon. This track is that moment, frozen in sound.

3. Autumn (Splash Yellow Vinyl)
For me, autumn is a bridge to winter — a time for natural soundscapes. You’ll hear birds, evocative chimes, and traditional Chinese textures like the Jiangnan pipa and urgent gong rhythms. Part of this song was inspired by Yangshuo, where mountains and water truly embody the season’s essence. It’s where East meets West, sparking something special.

4. Winter (Splash Pure White Vinyl)
A downtempo rhythm to ease busy minds. Winter’s morning light enters on the lingering birdsongs of autumn, followed by subtle holiday warmth and the quiet feeling of falling snow. To me, winter is a season of gathering — of holidays, family and friends.
(coloured vinyl 12" 180g comes in different coloured vinyl, we cannot guarantee which colour you will receive))

Repress of the 10 year anniverssary vinyl reissue of “The Empyrean” By John Frusciante cut for the original analog tapes at Bernie Grundman’s mastering. includes hi res audio download card. THE EMPYREAN is the eighth solo album by JOHN FRUSCIANTE. It was originally released in January of 2009, reaching number 151 on the US Billboard 200, 105 on UK Albums Chart and number 7 on the Top Heatseekers. It contains contributions from RHCP bandmate FLEA and former guitarist of The Smiths Johnny Marr. John Frusciante is an American guitarist, singer, composer, and producer. He is best known as the guitarist of the rock band Red Hot Chili Peppers. He recorded five studio albums with them and was recently inducted into the ROCK & ROLL HALL OF FAME. Frusciante has an active solo career, having released twelve solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new wave and electronica. He has also recorded with numerous other artists, including the Mars Volta, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; Josh Klinghoffer and Joe Lally, with whom he released two albums as Ataxia; and various collaborations with both Klinghoffer and Omar Rodríguez-López. He has also produced and/or recorded with Duran Duran, Wu-Tang Clan, Swahili Blonde, Black Knights, The Bicycle Thief, Glenn Hughes, Ziggy Marley, Johnny Cash, George Clinton, Johnny Marr, Dewa Budjana and others.

It’s taken Sealed records more than five years to put this release together but finally it’s here. The one and only Bikini Mutants. The Bikini Mutants were from Yeovil, Somerset and part of the All the Madmen world. In their short life as a band they recorded two demos at Monitor Studios, Milborne Port in Somerset in 1982. Let's Mutate collects these two demos on one LP, along with a 20 page booklet featuring photos, lyrics, reviews, interviews and much more. The band played mostly in Yeovil and the West Country along with the Mob and the Review, and even though they were part of the West Country anarcho scene, the sound was a mix of scratchy post punk and indie pop. Members of the band went on to be in My Bloody Valentine and the Chesterfields. The songs are intricate, delicate and engaging with the drums and bass locked in, the fuzzed out guitar weaving on top and Christine Cole’s angelic voice taking each song to pop heaven. Think a mix of Girls at our Best, Au Pairs and the Marine Girls.

Oh yes this timeless sun track is now for the first time on 7” vinyl.
Sons and Daughter of Lite first release back in 1977 on a private press release, spiritual jazz vocals Our A side Part one – Super mellow dreamy killer vibes and great vocals
B side - Part two – Opens with the bass groove and then off uplifting vocal and horny, pure sunshine Jazz. Must have 45

Wet is the fifth full length album by Black Meteoric Star and the 10th release. Black Meteoric Star is a project Rayna started in 2006 when she was living in Berlin that brought together her life long love of dance music culture with spiritual themes, drag, and her formative experiences of S/M culture Black Meteoric Star has always had an avenger quality in Rayna's life and creative work, and this iteration plays that role in response to the current political landscape. Wet celebrates the long standing shared history of electronic music and queer leather/SM culture and imagines a future where these two cultural expressions are re-connected.

Electronic music and leather/SM are both ways that queer people have historically built community, created and shared knowledge, and kept each other safe. The current administration demonizes and villainizes queer people on the basis of a false moral framework of respectability, and its a trick. No amount of acting "respectable" will humanize queer people in the eyes of this administration and get us the rights we deserve. Revitalizing the connection between electronic music and queer leather/SM is a way to affirm the cultural power of both during a time when it has never been clearer that we keep each other safe. Rayna, a transgender woman with a deep commitment to all of these cultural forms, has a strong message to deliver with this album. She has been a DJ and producer of electronic music for over thirty years and has been producing community cultural events for as long. She has also been involved in kink and bdsm for decades and is a well-known and respected DJ in the New York leatherdyke scene. Rayna made international headlines in 2017 when she came out as transgender while touring with LCD Soundsystem. In 2018 she left the Grammy winning band to pursue projects that were more connected with her queer experience, including founding Voluminous Arts a cultural organization that supports trans artists. Black Meteoric Star is a continuation of a thread in Rayna's work that runs through her Paper Eyes project and her role in Black Leotard Front. This thread has a comic book or x rated graphic novel component based around her experiences of being a sad lonely lesbian trans girl who got bullied a lot and found escape and the possibility of being avenged through X men comics and Dungeons and Dragons books.

The follow up to 2022’s ‘Return to the Island’ LP is a new 6 track EP influenced heavily by the evocative powers of incense and a deep sense of escapism. The EP has a more organic sound palette than its predecessor, from both the use of samples and appearance of various guest musicians. Lead track ‘Morning Star’ features long standing collaborator Mike Burn (Udaberri Blues & Mama Capes) who adds his trademark liquid gold lead and rhythm guitar lines with live bass from Fernando Pulichino.

The guest on ‘Savanna’ is frequent Jack J collaborator Linda Fox, who provides emotive and melancholy sax over a Dub House backing track with a particularly dreamy chord progression. The EP features Instrumental Dubs of both tracks, alongside two other new productions, the 80s leaning ‘Hands Across the Sea’ and ‘Wah Fix’, which rounds off the more Dub influenced B side with a 125 BPM bouncy Dub House excursion.

In 2026 the Jura Soundsystem project enters its 10th year and is the creative musical outlet of Isle of Jura founder Kevin Griffiths. All tracks produced at IOJ HQ in Moana, Adelaide between 2022 and 2025 with support from the incense gods of Cedarwood, Jasmine and Sandalwood. The 12” is housed in a 3mm spine full sleeve designed by Bradley Pinkerton.

The perfect challenge for Saved My Life aka Siggatunez (Gooey) and Constantin Sankathi (The Healing Company). As a studio team, the two have spent the last decade transforming Italo disco, Brazilian samba, and French chanson into highly distinctive edits and remixes that stay etched in your memory.

For Crystal Grooves 803, the pair have refreshed Sharon Stoned's heartbreak anthem "Down" into an almost unbelievable track, a hybrid of garage and trance, anchored by Senpolya’s vocals, which capture the mood of the original with intense yet subtle precision: "Your favourite shirt I'll wear it everywhere." "Beauty & Thug" showcases another core strength of Saved My Life: reduce to the max. An R&B bootleg from the early 2000s is stripped of its slightly-too-mainstream choruses and rebuilt with string overdubs and studio craft into an hypnotic late-night jam. Soulful vocals always hit hardest when you least expect them: "So burgundy, the window to his soul." True to the spirit of SML's own imprint Downtown Romeo Records, the record comes complete with a sticker and an 8-page booklet including all lyrics. This release is dedicated to all people believing that music is more than just music: substance and meaning.

Now here is a special one. Soul legend Leon Ware makes a posthumous debut on Cataleya Music with For The Rainbow. This beautiful song is an album track from 2019’s Rainbow Deux, which was released two years after his passing. For The Rainbow has been remixed expertly by Coflo and Laroye. Coflo supplies three remixes! His ‘Original Retouch’ is closest to the midtempo original, enhancing the percussive elements slightly housewards and letting those piano keys work to their fullest. The Coflo Remix employs organ keys and has the vibe of classic NYC vocal House ala Blaze etc. His Backside mix is more subtle and spiritual. Laroye closes out the release with a smart broken beat revision, where bouncing drums dance between the positive vocals. A really classy package!

Blending world-class musicianship with undeniable dancefloor energy, this release marks a bold evolution in Sean Khan’s sound — stepping beyond his signature jazz roots into a rich fusion of house, disco, and jazz-funk.
The A-side delivers a powerful, vocal-led jazzy house anthem, with Omar’s unmistakable voice floating over lush live keys and deep bass grooves. Driven by refined production and crafted for maximum impact, Stéphane and Alex Attias bring a sophisticated yet infectious energy designed to ignite dancefloors. Flip it over, and the B-side turns up the heat — a killer disco-house remix by Alex Attias, powered by tight programming from Stéphane Attias and vibrant keys from Sohan Wilson. Already catching attention from DJs, this track is built for late-night moments and peak-time reactions. The EP also features “As The Tree Grows” — a soulful, live-inspired journey through jazz-funk and disco textures. Warm, groovy, and deeply musical, it channels the spirit of legends while staying fresh and modern — perfect for both listening and dancing. Three moods. One release.cCrafted for the dancefloor. Designed for the soul.

A Good Year - Play. Driving through the country. Tender anthemic voices. Real sounds and synthetic sounds. Baggy drums. Acoustic guitars, bass drops, big and small, Moody. A Good Year is a collaboration between producer and former Liss drummer Tobias Laust Hansen and filmmaker-turned-musician Albert R. Hildebrand. Featuring: Horse Vision, Koilwood, Tiffi M, Quiet Light, Late Verlane, Alba Akvama, Suisse Air and MØ

As long as she can remember, Jane Remover has practiced her own autonomy as much as possible. The nineteen year old songwriter is an omnivorous listener that produces everything herself. She has been lauded by fans and writers alike, for accidentally creating entire genres in the wake of her prolific two-year run.

Her debut album Frailty was written amidst the purgatorial summer after a high school graduation, en route to turning eighteen that September. The lyrics are a wayward coming-of-age diary of an LGBT+ teenager, stuck in the suburbs of a confusing, socio-politically turbulent America.

Janeʼs words sting, but are shrouded in meticulous production; a sui generis vein of DIY rock. Simultaneously, itʼs steeped in the lo-bit, nostalgic synths that soundtrack a final glimpse of younger memories.

The LP was warmly received: Album of the Year List placements from Pitchfork and The Needle Drop, glowing reception from Paste, Insider and FADER, and a widespread resonance from a young audience who consider the album cathartic and relatable.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

For some time now, followers of Field Medic have been piecing together clues about Floral Prince. The name has been mentioned in late night Twitter hints, secret YouTube leaks, teaser riddles, Instagram live sets, and standalone single drops. This unconventional approach paints a bigger picture for the 11-track project as a whole, set for release October 2nd from Run For Cover Records. Part mixtape, part album, part collection, part musical patchwork quilt, Floral Prince is the latest offering from Field Medic, aka the preeminent Bay Area freak folk artist Kevin Patrick Sullivan. It’s a reflection of his unique approach to songwriting and a creative drive that can’t be contained to the traditional album format. Field Medic’s songwriting rarely slows down; even after the release of his 2019 full-length fade into the dawn and the busy touring schedule that followed, Sullivan still found himself flush with new songs and ideas. As he attempted to earmark certain songs for his next release Sullivan began to chafe at the pressures of a follow-up album. Longing for the spontaneity of Field Medic’s earlier work, Sullivan found inspiration in what he calls the “full-time freestyle” mindset where he writes and records songs on the fly with a four-track, usually with a self-imposed limit of three takes. “This style lends itself to more off-the-cuff lyrics and recordings that communicate their point much clearer to my ears,” he explains. “It’s also fun.”

The process proved surprisingly satisfying, often capturing the diary-like nature of Sullivan’s songwriting more accurately than some of the music he’d been poring over. “The songs born from this method aren’t always ‘hits,’ he says. “But they feel much more important to me…closer to how I really feel.” Some of these charming homespun missives made their way onto the internet, spurring fans to follow the breadcrumbs towards these first glimpses into Floral Prince and the ever-expanding Field Medic mythology. “I realized the songs I was saving for another album were much less focused and effective than some of the freestyles I had been creating and subsequently leaking,” Sullivan says. “I think that’s because I really enjoyed the process of writing and recording the freestyles, whereas the ‘hits’ I was attempting to make were being approached as more of a chore.” Floral Prince officially began to see the light of day through a series of stand-alone singles released throughout early 2020 in tandem with episodes of Sullivan’s homemade webseries, the field medic show. To invite fans further into Field Medic’s unique world of achingly beautiful melodies and conversational lyricism, songs like the atmospheric ballad “better way” and the Alex Menne (pickleboy/Great Grandpa) collaboration “talkin johnny & june (your arms around me)” were shared alongside the YouTube show’s accompanying live versions. Other tracks—like rousing opener “-h-o-u-s-e-k-e-y-z-” and the longing “i want you so bad it hurts”—were repurposed from the fade into the dawn sessions to finally find a home on Floral Prince. Elsewhere “it’s so lonely being sober” exemplifies the unvarnished appeal of the full-time freestyle attitude. The song’s direct lyrics and single-take phone recording preserve the deeply personal storytelling, relatable details, and palpable emotions that make Field Medic’s work so intimate and enthralling.

Although Floral Prince is culled from several years of Field Medic songs, its 11 tracks have a sense of cohesion that can be attributed to Sullivan’s singular vision and willingness to allow the listener into his life. “These songs were written through different seasons of my life but they all share a common theme of quiet, nagging, yet somehow defiant insecurity,” he explains. “To hear them all grouped together reminds me that I’ve always felt more or less the same way, and have had the same obsessive tendencies my whole life that have often led to self-destructive behavior. Maybe this is catharsis.” In the end Floral Prince is actually many things at once: a snapshot of an artist shaking off the perceived boundaries of his medium; a document of years of Sullivan’s life preserved in musical form; the closing of one songwriting chapter and the start of another. Or perhaps as Sullivan puts it, “All songs have their day…”

As long as she can remember, Jane Remover has practiced her own autonomy as much as possible. The nineteen year old songwriter is an omnivorous listener that produces everything herself. She has been lauded by fans and writers alike, for accidentally creating entire genres in the wake of her prolific two-year run.

The new album is more conceptually abstract than its predecessor as Jane sheds linear narrative writing. However, it takes place beginning at sundown and through the night, up until the next morningʼs earliest crack of dawn. Its winding songs are obtuse but carefully composed, and intimately follow Jane's train of thought.

Dynamic production is at the forefront. Noisy highs gleam, and are juxtaposed by dusky Post-Rock lullabies within the same songʼs runtime. Census Designated is a staggering display of maturation in every aspect when compared to her previous presentation, to a degree that makes it few and far between in the world of albums.

Despite the darker palette, Jane steps into a technicolor clarity for the first time. The album was made in both studios and at home—with recordings from Studio North (Kensington in Philadelphia), mixes from Kayla Reagan and mastered by Hector Vega.

A photo of her standing bareback while facing away towards the high plains, serves as the cover art for an album where she manages to simultaneously divulge her most confessional moments yet, and captivate the listener with unanswerable questions.

Ovatow made quite a stir when he first started dropping deep dubs on his mysterious MySpace page (the main social media at the time). The tracks on the little crappy audio player got hunted down by a flock of DJ's and label heads. From behind a curtain of anonymity he soon started releasing his material on various labels, becoming cult classics in the dub-techno world. It was 2007 when X-dub first appeared on the Dutch imprint SD Records, followed up by his classic release on Frantic Flowers and a string of other projects while keeping his identity secret to everyone. Years later, the rumors proved true... the artist behind these mysterious projects was non other than the Frantic Flowers / Frustrated Funk label head himself. Just testing the waters around him, receiving release offers from close friends and colleagues while he kept his anonymity up. A fun little joke for himself, though the tracks are still relevant and sought after classics today. Both X-dub versions re-appear now, for the first time after almost 20 years, fully retouched and remastered, together with an unknown unreleased jam called Autistic Navigational Spectrum. This is the first in a series of Ovatow work, revived for the heads that appreciate the foggy deep of the Undacurrnt.

A superb Jazz Flavoured Latin Funk Soul album recorded in 1977 by Grammy Award Winning Carlos Franzetti when he was a struggling musician trying to get his first breaks in a tough New York Jazz scene. With a Top Notch grouping including Percussionist Ray Mantilla, Victor Venegas on Bass and Dick Meza from the Tito Puente Orchestra Carlos played all the Keyboards, wrote the numbers and was also responsible for all the arrangements.

Released by Guiness Records (No relation to the Drink) and swiftly forgotten Stateside it was picked up by the DJ's in London's early Jazz Dance scene where "Cocoa Funk" became a must have cut, eventually appearing on Soul Jazz Records seminal re-issue series "London Jazz Classics". It also became a hit in Germany after being re-issued on a double vinyl by leading label Sonorama Records.

Now available again in its original single album format and sounding as fresh as if recorded yesterday from the opening bars of the jazz inflected cut "Beatriz" via the Worldwide sounds of "Sweet And Low" to the Funky Latin Jazz of the title track "Graffiti".

Still changing hands for eye watering sums on collectors sites and now available again for a reasonable sum courtesy of Jazz Room Records.

Double LP pressed on Pearl Dawn vinyl. Akupara Games, Videocult and Black Screen Records are beyond stoked to release the soundtrack to Rain World: The Watcher, a DLC of the massively successful game hit Rain World. The music was crafted by year-long companions of the game James Primate and Lydia Esrig but it's also featuring works by Serpanoy, Pinpoint, snoodle, Intikus and Kaeporo. This collection of hugely talented artists makes the score an eclectic journey that at the same time follows a coherent concept that reflects on the atmosphere of the game. The wilds that await will be unlike all that's come before. The double LP on stunning Pearl Dawn vinyl, that is featuring a total of 54 tracks, presents exclusive gatefold artwork by Kelocitta with UV spot varnish. This set is not only a true beauty but also perfectly in line with the vinyl releases for Rain World and Rain World: Downpour - don't miss out to complete your collection! Rain World: The Watcher is a DLC expansion of Rain World. Journey beyond to something, somewhere only ever glimpsed. Unknown creatures stalk and climb and dive and hunt. New breeds rip and pluck and burrow and hide. Predator and prey redefined. And through the middle of it all, a lonely lost slugcat trying their best to outlast the ravages of a warped world. When the world beneath your feet cracks and crumbles, will you hold on to all you once knew? Or dive into the unknown?

'I live in a gentrified part of Brooklyn, I eat out several times a week, I travel the world sampling the best that cities across the globe have to offer. Do I live in a penthouse loft Am I dinning in five stars restaurants Can you only find me in the most exclusive areas Do I own a jet The answer to all the above is most certainly no. I'm just a regular man from Prince George's county, Maryland that figured shit out. I discovered that I can make a career in an arena dominated by artists that sell false dreams. I realized that although the masses may not know of my body of work, it doesn't take the whole world to have the world I want. Tangible Dream is a mix-tape dedicated to the deconstruction of our traditional ideas of success & shedding light on the possibility of a sustainable rap life. These rhymes were written in economy class seats, these beats were produced on long bus trips & these songs were recorded in airbnb apartments. All I want to do is make music for a living so that I can live to make music. The only dreams I'm interested in are the ones I can grasp. It just so happens that anything you want bad enough can be obtained. Perhaps the world may never know of my accomplishments but accomplishments they are nonetheless.

SEKTION's debut full-length DRUCK marks the first official collaboration between AtomTM & Siegmar Fricke, a connection rooted in 1992. Released by Geometrik Records, the label of industrial legend Esplendor Geométrico, in collaboration with Munster Records. Across thirteen interconnected tracks, DRUCK builds a stereo-enlarged environment shaped by metallic textures, rhythmic granulations and slow-moving structural shifts. Drawn from the compositional frameworks VOKOSTASIS, DIGITRAKTION, LEERZEICHEN, and UNWUCHT, the album unfolds as a continuum of mechano-sonic morphing. Fragments of frequency-altered voices emerge like damaged transmissions, woven into grain sliced rhythms, microsound detail, and layers of rusty tape noise and electro-acoustic particles. Tension and friction gradually push the material toward fragmentation without collapse. A formidable and immersive act of sonic engineering. German musician AtomTM (Uwe Schmidt) is one of the most imaginative and prolific talents in the global electronic music scene in recent decades. Since 1988, he has released music on cult labels such as Raster-Noton, Sähko, Mille Plateaux, Rough Trade, Rephlex, Fax, and his own label, Rather Interesting, under countless aliases. As producer, remixer and collaborator he has worked with and for musicians such as Ryuichi Sakamoto, Yellow Magic Orchestra, Depeche Mode, Towa Tei, Merzbow, Bill Laswell, Esplendor Geométrico, just to name a few. Uwe has developed an innovative, unconventional and highly personal musical vision, interpreting a wide variety of genres and styles in his own unique way, such as experimental music, techno, acid, EBM, electrolatino, ambient or industrial music, amongst others. Siegmar Fricke is a German artist starting with experiments involving short-waves and acoustic noises in the field between musique concrete and post-industrial around 1981. Ha became a very active player in the worldwide cassette culture movement. He ran his own label Bestattungsinstitut and published loads of releases ranging from experimental to ebm, electro, to ambient spread all over the world's tape labels from 1985 to 1993. Since 2001, Fricke has operated primarily under the alias Pharmakustik. His collaborations included notable ones with legends of electronic and industrial music such as Conrad Schnitzler and Mauricio Bianchi.

The Mantecas represent one of the finest concentrations of experience and talent in Latin and Jazz music ever to be based in the UK. A pure uplifting Latin Jazz music celebration, limited edition 250 copies: not-to-be-missed, recorded at different locations in London during 2025/26 "On their fabulous fourth album, The Mantecas (formerly Manteca) have moved the needle all the way in the direction of Latin jazz (or jazz latino). In their early years, the London-based eight-piece played a mix of salsa, Cuban timba, boogaloo, Latin funk and descarga (jazzy, improvised Latin jam session), with plenty of vocals, strictly geared for the dance floor. Along the way, the jazz-descarga aspect emerged as a stronger force, though all sorts of other ingredients, from afrobeat to Afro-Cuban, cumbia to samba, ebbed and flowed throughout. Although there's nothing new with the concept of doing an album of instrumental Latin tracks in a jazz mode that's still dance-friendly (Machito, Sabú Martínez, Tito Puente and Tito Rodríguez all waxed jazz latino albums like that long ago), what's new here is The Mantecas' very fresh and confident interpretation of the idiom. And while they share something in common with the accessible, danceable Latinized soul jazz of someone like Mongo Santamaría or Willie Bobo, as well as the Afro-Cubop roots of Chano Pozo, they also bring to mind the more jazz-oriented improvisational legacy of Pozo's amigo Dizzy Gillespie, which is reflected in The Mantecas' explorations of a handful of 20th Century modern jazz giants as they rework timeless classics by John Coltrane, Miles Davis, Oliver Nelson and Wayne Shorter. For this release, all seven tracks are essentially Latin renditions of jazz standards or are Latin jazz originals. There's a mix of jazz and Latin rhythmic structures, instrumentation, arranging, and sensibilities at play, and it's a very natural sounding mélange. Like their previous albums, some of the tunes feature a club-ready blend of hot and cool, in a Latinized British acid jazz / soul jazz way." - Pablo "DJ Bongohead" Yglesias, 2026

New collaborative project from Lawton Browning (Woolen Men), blending melodic indie rock, lo-fi experimentation, and postpunk energy with a raw DIY spirit. Change Life moves between jangly guitars, textural pop, and reflective songwriting, balancing immediacy and experimentation. Change Life is the new creative project from Portland-based multi-instrumentalist, writer, and longtime Woolen Men leader Lawton Browning. Formed in 2023 in the aftermath of the pandemic years, the project emerged as a collaborative and fluid outlet centered around reinvention, experimentation, and collective creativity. Rather than functioning as a fixed band, Change Life operates as an evolving collective of musicians and visual artists. The self-titled debut album channels melodic indie rock, lo-fi textures, experimental pop, and reflective songwriting through a conceptual lens informed by anarchist and surrealist traditions. Across the record, Browning and collaborators explore uncertainty, transformation, and cultural dialogue while maintaining a strong sense of immediacy and creative freedom. Before launching Change Life, Browning spent over a decade fronting Woolen Men, releasing six acclaimed albums and touring extensively throughout the U.S. and abroad. With Change Life, he opens a new chapter rooted in collaboration, artistic experimentation, and new creative possibilities. For fans of Pavement, Sebadoh, The Clean, Guided by Voices, The Fall, Silver Jews

Sixty-four years after John Coltrane recorded the groundbreaking Africa/ Brass for Impulse!, Tenderlonious honours the original recording while pushing it forward with a Coltrane-like fervour of his own

Africa/Brass Live was recorded at the Melbourne International Jazz Festival in October 2025, as part of Pique- nique's Take Two series. Each Take Two event begins with an uninterrupted, high-fidelity playback of a seminal album, heard as it was originally intended, followed by a live reinterpretation with full artistic freedom. It's an experiment into what happens when serious musicians immerse themselves in a work long enough to discover their own path through it.

For this performance, Tenderlonious assembled a quartet of trusted collaborators. Tim Carnegie , his longtime Ruby Rushton drummer, flew in from London. Horatio Luna on bass and On- Ly on piano completed the group, two Melbourne musicians Tenderlonious describes as "seriously underrated." The melodies, he said, would be the foundation. After that, the search would begin. And the search was fierce!

That's what you're hearing on this record. One beautiful note, Tenderlonious will tell you, means more than a thousand. Coltrane knew it. And on a Monday night in Melbourne, they proved it.

Limited edition available on classic black vinyl and digisleeve CD.

For fans of Dokken, Lynch Mob, and 80’s Metal! Dokken is one of the defining bands of the 1980s hard rock and heavy metal scene, known for blending melodic hooks with powerful guitar work and emotionally charged vocals.
Formed in Los Angeles in the late 1970s, the band was led by vocalist Don Dokken and featured the virtuosic guitar playing of George Lynch, alongside bassist Jeff Pilson and drummer Mick Brown. Dokken rose to prominence during the peak of the MTV era with a string of platinum-selling albums, including Breaking the Chains (1983), Tooth and Nail (1984), and Under Lock
and Key (1985) racking up sales of more than 10 million albums. Their sound struck a balance between radio friendly melodies and aggressive metal, producing hits like “Alone Again,” “In My Dreams,” and “It’s Not Love.” Their 1987 release Back for the Attack further cemented their legacy, showcasing both commercial success and musical complexity. Released in 1999, Erase the Slate marked a fresh chapter for Dokken, introducing Reb Beach (best known for Winger and later Whitesnake) as the band’s lead guitarist. Erase the Slate blends Dokken’s classic melodic metal roots with a more modern, late-'90s hard rock edge. Reb Beach brought a technically sharp yet fluid guitar style that differed from the flashier, more aggressive approach of former guitarist George Lynch. His playing added a polished, groove-oriented feel while still delivering strong solos and riffs. Remastered and Repackaged on 180g green smoke vinyl.

A document of singular rarity. Issued by United Dairies in 2026 in a hand-made, heavy-gauge black vinyl edition limited to 300 copies, 1984 - A Happening recovers the second ever public performance of Nurse With Wound, captured on tape in 1984 and held in Steven Stapleton's archive across the four decades since.The history is nearly mythological. Across the years 1984 to 1986, NWW operated briefly and reluctantly as a live band, performing on stage exactly eight times, of which five were public. Stapleton has called these events "shambolic, chaotic and uneven affairs, sometimes as boring for the performers as the non-plussed audiences but at other times reaching an amazing intensity". The first of them, an Amsterdam show on the 8th of December 1984 at the NL Centrum, has surfaced over the decades in fragmentary form; the second has remained, until now, almost entirely unheard. It belongs to a moment when Stapleton, working alongside collaborators including David Tibet, Andrew McKenzie of The Hafler Trio, and a rotating cast of percussionists and string players, was carrying NWW briefly out of the studio and into a series of confrontations with audiences who often had no idea what they were watching.The recording itself is described, accurately, as raw but beautifully captured. The performance moves through the territory NWW had been mapping across Homotopy to Marie and Nature Unveiled: long passages of pre-recorded tape collage assembled by Stapleton and McKenzie, ridden over by live electronics, voice, percussion, and the surreal theatrical instinct that has run through every gesture the project has ever made. There is a sense of a collective groping its way through unstable material in real time, an ear turned simultaneously to dada and to musique concrète, to the British post-punk underground and to the krautrock heritage that has always shadowed Stapleton's work. The chaotic edges are intact. So is the intensity Stapleton has spoken of.

Under the moniker Trace Mountains, Dave Benton writes music that asks large questions in quietly profound ways. On the project’s earliest release, the 2014 compilation Buttery Sprouts & Other Songs, these thoughts appeared as lo-fi scraps of wit andtenderness. But by the time A Partner to Lean On, Trace Mountains’ debut full-length, arrived in 2018, Benton’s perceptive indie rock had matured into more existential meditations about identity, existence, and finding sense in an increasingly chaotic world.
In the two years since A Partner to Lean On, Benton’s life has undergone several large changes, namely the dissolution of LVL UP, the indie rock quartet he co-founded in college, and a move to Kingston, a small city in New York’s Hudson Valley. Composed during—but not directly inspired by—this transition, Trace Mountains’ second record, Lost in the Country, reflects Benton’s need toreconnect with his inner world.

Prompted by an urge to access a more authentic voice, Lost in the Country finds Benton digging deeper into candid songwriting. “I wanted to open myself up and write lyrics that are a little bit more direct,” he explains. “I write a lot of songs that are about myself and a lot of songs that aren’t, but on this record, the focus is turned inward either way.” The result is Trace Mountains’ strongest and most assured record yet, 10 songs driven by a desire for introspection and self-discovery. The backdrop for this insularity is an expanse of wide blue skies, seas of trees, and winding roads, ideal locales for thoughts to blossom into greater reflections of the outer world. The slow-burning “Absurdity,” which Benton modestly says is about “hiking and standing in the country,” uses the sublimity of the wilderness to comment on technology’s inescapable presence. Similarly, the driving opener “Rock & Roll” transforms the premise of a “simple song about being a rocker” into a stream-of-consciousness, apocalyptic poem about delusions, regrets, and getting lost in your own limited perspective. This self-examination culminates with the record’s ambitious and anthemic title track. Channeling the cosmic sprawl of the War on Drugs or Kurt Vile, Benton recalls a moment of deep loneliness and depression outside a concert venue in the Netherlands, and how an unexpected moment of compassion led to a moment of awakening.
Despite its frequently bucolic setting, Lost in the Country’s underlying current is an urgent commitment to Trace Mountains and “finding a creative process that requires me to be honest with myself.” “I know I sing to forget, I sing to hold my breath, to feel the thumping in my chest,” Benton sings on “Cooper’s Dream.”This line is “rooted in the importance of music in my life, it’s definitely a reflection on that and how I can keep it in my life, because if I’m not careful and I don’t nurture it, I could lose it.” The self-imposed pressure has been empowering for Benton. “I really like having full control in making a record, deciding what songs are going to be on it, as well as shaping the vibe or narrative of the whole thing,” he says. “It brings a peace of mind knowing that I am responsible for just my voice.”

Formed by Marius Vold & Steinar Sverd Johnsen in 1989, Mortem was one of the first black metal bands to crawl out of the woodwork in Norway, releasing the highly coveted & brutal 'Slow Death' demo, with Euronymous & Dead of Mayhem acting as producer & cover artist respectively (whilst also featuring Hellhammer on session drums). After the release of 'Slow Death', the band was laid to rest, with members going on to form & feature in acclaimed titans such as Arcturus & Thorns, both of which would become mainstays in the black metal scene & beyond. It wasn't until 2019, when Mortem's studio debut 'Ravnsvart' was released, & the magic of old undoubtedly returned with that same spirit & brutality of the original incarnation, whilst injecting new elements to form an opus of ferocious yet atmospheric horror. This was followed soon after by the fully re-recorded & re-worked 'Slow Death' tracks.

Formed by Marius Vold & Steinar Sverd Johnsen in 1989, Mortem was one of the first black metal bands to crawl out of the woodwork in Norway, releasing the highly coveted & brutal 'Slow Death' demo, with Euronymous & Dead of Mayhem acting as producer & cover artist respectively (whilst also featuring Hellhammer on session drums). After the release of 'Slow Death', the band was laid to rest, with members going on to form & feature in acclaimed titans such as Arcturus & Thorns, both of which would become mainstays in the black metal scene & beyond. It wasn't until 2019, when Mortem's studio debut 'Ravnsvart' was released, & the magic of old undoubtedly returned with that same spirit & brutality of the original incarnation, whilst injecting new elements to form an opus of ferocious yet atmospheric horror. This was followed soon after by the fully re-recorded & re-worked 'Slow Death' tracks.

Santana III is an album of 'lasts'. It was the last album recorded with the original Woodstock-line up and the last to hit #1 in the Billboard charts until 1999's Supernatural. But there are also a number of important 'firsts' on this album; Coke Escovedo joins in for the first time on percussion, as does Neal Schon (Journey) - who was a mere 17 of age when they recorded the album - on guitar. Santana III is viewed by many as the band's commercial and creative highpoint. The band sounds darker, rawer, and more eager with the doubling up on guitar of Schon's Rock 'n' Roll sensibilities and Santana's ecstatic high notes and soulful fills. Escovedo and Chepito's percussion are as fast as it is furious, and the minimal production adds greatly to the timeless appeal of this album. Santana III is available as a limited edition of 1500 individually numbered copies on translucent yellow coloured vinyl, housed in a deluxe heavyweight gatefold sleeve.

Or Kantor performs Masaru Imada’s “Nowin”, one of the most beautiful and unique compositions to come out of the Japanese jazz scene. Released to mark one year since Mr. Imada’s passing, Kantor’s interpretation stands as a tribute to one of the most gifted and respected artists of his generation.

The release arrives as a boutique 7” vinyl edition, limited to only 150 copies worldwide.

The B side features a brand new composition by Or Kantor "The One" written especially for this release.

With their tenth studio album "X", Swedish melodic metal pioneers Narnia enter a new and powerful chapter, marking their 30th anniversary and nearly three decades of unwavering presence on the international metal scene. While "Ghost Town" (2023) reaffirmed the band's melodic metal foundation, "X" expands the sonic landscape. The album moves confidently between soaring arena-ready choruses and more adventurous, progressive passages, without ever losing the band's unmistakable identity. Songs like "Oceanwide", "Every Breath", and "Heaven's Calling" showcase Narnia's gift for strong hooks and uplifting melodies. At the other end of the spectrum, the high-energy "Remedy (SOS)" pushes the tempo to new heights, while tracks such as "God Under Fire" and "Jerusalem" explore more intricate arrangements and progressive textures. Multiple lead vocalists share the spotlight throughout the album. CJ Grimmark and Jonatan "Jono" Samuelsson both step forward on selected tracks, adding new tonal colors, while Christian Liljegren's unmistakable voice continues to anchor the sound. "The Man from Nazareth Pt. II" reconnects with the band's early era and serves as a continuation of a fan-favorite from the 2006 album "Enter the Gate", while "The War that Tore the Land (Reprise)" offers a reflective callback to 2019's "From Darkness to Light". "X" stands as both a celebration of Narnia's legacy and a bold statement of where the band stands today, musically sharper, more diverse, and more confident than ever. The album is produced and mixed by CJ Grimmark and mastered by Thomas "Plec" Johansson at Studio Bohus. - Narnia - pioneers of Scandinavian melodic metal since 1996. - Celebrating their 10th studio album "X" - marking nearly 30 years of legacy. - Part of the original Swedish melodic metal wave alongside HammerFall, In Flames and Evergrey. - Christian Liljegren - one of the most recognizable voices in melodic metal, fronting the band since day one. - CJ Grimmark - founding member, main songwriter and producer, widely regarded as one of Sweden's finest melodic metal guitarists. - Worldwide sales of several hundred thousand physical units plus strong global streaming presence. - Strong and loyal international fan base in Europe, South America and Japan. - Extensive touring history with Dio, Judas Priest, Europe, Sabaton, Saxon, Stratovarius, Sonata Arctica, Yngwie Malmsteen and Stryper. - Recent music videos approaching 1 million YouTube views combined.

H- side is etched
The American cable-television industry exploded in the 1980s, pushing broadcasts of diverse programming and emissions of low-laying cultures into homes. Community stations piggybacked on the digital developments of the time, extending their existence through telephony and broadcast a iliates. For those growing up in this time, in locations such as New York City, the localized communications beamed into their homes exposed them to an impressionable array of disparate sounds and visions.
Move into the 1990s and New York was filled to the brim of emergent cultures drawing from this ebullition of communication. From Rammellzee’s shapeshifting to the late Judy Russell and Frank and Karen Mendez’s Nu Groove imprint fusing reggae, poetry and house, nascent ideas emanated from the city walls, from within stores such as Sonic Groove store and on VHS releases such as Stakker’s The Evil Acid Baron Show, a legendary technicolor psychedelic trip along the wildest frontiers of acid house. As scenes expanded and identities developed, such individuals weather the events of the visceral now, expressing themselves right into an unpredictable future.
Function’s long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the 90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills.
For his new album Existenz, he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid 2019, Existenz takes the form of a creative outburst in reaction to a number of traumas - recent, childhood and throughout Function’s life. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing and featuring vocal contributions.
Cosmic synths soar and swoop in ‘Pleasure Discipline’ through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. ‘Zahlensender’ reflects a spatial tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. Constant arpeggiated meditations echo synaptic transmissions, e ecting a dissolution of boundaries. ’The Approach’ recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. ’Golden Dawn’, featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria, as once more positive rays emerge. His ode to the effortless short-trip urban navigation 'Kurzstrecke' finds Function in motion, upfront and bold, snapshots of conversation and flickers of light. 'Ertrinken' finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on 'Growth Cycle' and 'Be', entrenching a celebratory atmosphere over Function's clubwise leanings. Closing track 'Downtown 161' reflects the unmistakeable filtered and squashed interjections of television, and sampled dance vocals - a sound for the curious, dreamers and dancers.
With Existenz, Function reveals an essential body of work, spread over 4LP - thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Leading up until the release date, Function will undertake an album promo tour with select dates - A/V shows at Berlin Atonal and Rural festival in Japan, and three dates as part of his Bassiani residency.

Fresh Meat Records is proud to present the vinyl re-release of From Chicago With Love, a record originally produced and released by Mazi Namvar (aka Audio Soul Project) in 2004. Though it may have flown under the radar upon its initial release, the record has recently gained a cult following, with prices on the secondhand market steadily climbing. A single copy now fetches as much as $170, with a recent test pressing selling for $100. Recognizing the demand, Fresh Meat Records has gone to work offering a beautiful repress of the record—one that truly does justice to the original while adding something special for long-time fans and newcomers alike.

From Chicago With Love Reprise is a celebration of a classic with a new dimension. The record includes a fresh fourth track, “Murmurs Low,” which features the saxophonist Jimmy Tripp and a spoken word performance by Mazi. Together, they add a soulful and atmospheric touch to the original, expanding the sonic palette while retaining the deep, intimate energy of the original release.

The tracklist remains faithful to the original with the standout “Tattoo Of You” leading the way on the A1 side, sounding better than ever thanks to an impeccable re-cut by Lawrie Dunster at Curve Pusher. The deep grooves of “Tattoo Of You” still deliver their deep and mesmerizing house vibes, setting the tone for the rest of the release. In the A2 position, “Murmurs Low” provides a captivating, subdued moment, with the saxophone adding a melodic layer to the evolving rhythm that makes this track truly memorable.

On the B-side, “Down” takes its rightful place as the first track, maintaining a dubby soulful drive and emotional call to action. Closing out the record is “Let Me Know,” a track that brings the journey full circle, providing the perfect outro for the reissue and reminding us why this record is still beloved.

In creating From Chicago With Love Reprise, Mazi Namvar has ensured that every detail is accounted for, from the masterful cutting by Lawrie Dunster to the selection of 8 different color sleeves, offering something for both collectors and music lovers alike. The reissue ensures that this classic can now be enjoyed at a reasonable price, far more accessible than the inflated prices on Discogs. This new pressing is a labor of love, showcasing not only the timelessness of the original tracks but also the care that has gone into its revival.

Whether you’ve been following Mazi Namvar’s work for years or are just discovering this release for the first time, From Chicago With Love Reprise is a powerful reminder of the depth and beauty of house music’s rich history, as well as the enduring passion that drives artists to continue creating for the dancefloor. Get ready to experience this iconic record in a whole new way—one that honors the past while looking forward.

Written, produced, performed, mixed, and arranged by Maziar Namvar.
Additional keys on A1 by Joshua Collins.
Saxophone on A2 by Jimmy Tripp.
Vocals on B1 by Lori Reigler.
Copyright Control
2025 Fresh Meat Records

Written in the wake of a relocation year that quietly rewired the Australian-Macedonian DJ/Producer’s instincts, the latest record on Aldonna’s own Re-leaf Imprint trades the melodic density of earlier work for something more intimate, immediate, and bodily. ‘Infatuate’ closes the gap between what she is making and what Aldonna is reaching for in her record bag. That shift manifests in a tighter focus on groove. Gritty, swung drum samples lifted and reshaped from vinyl, FX drenched stabs flickering through delays, and basslines that feel less composed than inhabited.

The A-side rides a continuous low-end groove. The environments that shaped these tracks are still embedded in them: the sunburnt euphoria of a Brussels day party bleeds into “Squeaky,” while “Keep Up” captures the nervous, sleepless churn of a Berlin weekend on the edge of breakthrough.

The B-side’s “My Dear” softens into something more viscous and intimate, its warmth underscored by Aldonna’s own spoken word vocal in the Macedonian language, an understated but pointed nod toward underrepresented Balkan textures in club music. The EP rounds off with a functional remix from Berlin’s ‘Revivis’, applying his signature rolling sound to ‘My Dear’.

As a whole, the record feels deliberately situational, equally at home under low red lights in a sweat-slicked club or stretched across a festival system in broad daylight, but always orbiting that same core impulse: to pull bodies closer, lock them into the groove, and let everything else dissolve.

After a year of silence since the last catalog a new record is now coming to life, notes from the imaginary-world played & programmed by So-Fi.

“Mind Migration” is So-Fi’s debut release on Superluminal Recordings, four tracks inspired by unexplored old and modern techno sectors. Tribal rhythms are wildly unleashed in dialogue with obscure-spectral textures, a musical composition within its influences being reflected also by the artist’s prowess as DJ been witnessed in many clubs.

α1 ѕтrαɴɢε ѕyѕтεм
α2 ɴεѕтιɴɢ
в1 voιd ѕυɴ & ѕтorм
в2 ѕwεαтy coɴvεrѕαтιoɴѕ

Written and produced by So-Fi
Master & Cutting by Analog Cut Mastering Studio
Artwork by Cleymoore
Front cover photo by Elena Tredici
Catalog: superluminal02
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