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Transparent blue vinyl. October By Name is the latest solo album from Kavus Torabi, marking a luminous new phase for one of Britain's most distinctive psychedelic voices. Written in the wake of significant personal change and shaped by his work with Gong, Cardiacs and The Utopia Strong, the album blends adventurous psychedelia, melodic songwriting and mystical reflection into a sound that is both emotionally direct and unmistakably his own. Completing an autobiographical trilogy of solo records, Torabi once again performs, records, mixes and illustrates every aspect himself, creating a deeply personal work. The result is an intimate, expansive album that feels celestial, transformative and uniquely Kavus Torabi.

“When the flesh gets cut off the soul, it’s not the end.”

More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”

This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.

Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.

Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.

Confronting 2026, hope can seem in short supply, as the most divisive and toxic voices worldwide are amplified amidst an ever-rising temperature of conflict and alienation, yet hope is abundant in ‘Losey’, the latest release on Rocket Recordings from the mercurial duo Gnoomes. Just as this couple have taken a bold step into the unknown by leaving Russia and moving to Slovenia, so their music has thrown off all shackles to flourish in a defiant show of vibrant and revivifying colour. “The life of an immigrant is a strange thing.” says the bands Sasha Piankov “But luckily, that glow music brings us has never faded, even though the emotional landscape has definitely shifted.” Yet whilst the music that Sasha and his creative and life partner Masha Piankova came up with is testimony to a liberating triumph against oppression and adversity, it also goes beyond. What has emerged is a kaleidoscopic collision of styles which sends the ‘skygazing’ realm of their previous work spinning into electronic orbit. Whilst the opener ‘Foreign Agent’ explicitly tackles the pressures of the Russian state, it also throws a Stereolab-style motorik meditation through an in-the-red psychedelic prism. Elsewhere we can behold Bulgakov and Chris and Cosey as bedfellows amidst the mesmeric, 303-fried EBM of ‘Satan’s Ball’.
“Rave as therapy. Pop as resistance. Love as endurance. ADHD as a production technique.” These are the primary ingredients of Losey, by the reckoning of the band themselves. This is an album that exists purely on its own distinct frequency, driven by defiance and positivity. Losey is a soundtrack to set fire to the old order, the better to dance in the glow.

“When the flesh gets cut off the soul, it’s not the end.”

More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”

This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.

Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.

Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.

Risk/Reward’s fourth release sees one of the UK’s most prolific and recognizable Producer/DJ’s take the elevator all the way down to the basement of the Tech House sonic spectrum…

Archie Hamilton has achieved superstar status after over a decade of consistently excellent musical output. As the name suggests, Friends in Low Places sees him return to the underground with the rolling, acid-laced, “for the heads” sound that first saw him explode on to the scene 10+ years ago, supplying 3 original tracks that will surprise and delight in equal measure!

A1: NyLon blends the dreamy shades of 90s Italo with the rugged bounce of golden era UK Tech House, to create a beautiful, bold fever dream. Intricate synth melodies, rudeboy vocal cuts and transcendant pads play out over crunchy swinging drums. A bold opening statement to kick off the EP.

A2: The energy kicks up to 11 on Trance-Tech bomb No Signal, a certified weapon of mass dance floor destruction! Vintage Archie rolling 303 bass layered with complex acid lines, haunting siren calls and relentless, gritty drums make for a powerful peak time standout that will have jaws dropping!

B1: On the flip side Archie takes you Higher with another signature roller that’s instantly familiar yet enigmatic. Punchy yet intricate drums, deeply groovy bass, a variety of ear worm melodies and an oh so familiar voice take you up, up and away in to the atmosphere. An instant classic from a man who’s made his fair share.

B2: Returning to the scene he played a key role in building after almost a decade out, UK Tech House DON Gideon Jackson delivers a gargantuan remix that could very easily reduce the club to rubble if not handled carefully. No element of Higher was spared in this rework, but the weight and pressure get cranked up to the absolute fullest - tougher than tough stuff from the OG!

Producer duo Crossroads is back with another track featuring the talented young singer Cler. This time, they’re taking on a huge classic originally by Grover Washington Jr. and Bill Withers. 'Just The Two Of Us'—a soul classic that’s been loved across three generations—gets a fresh update here, perfectly matching today’s modern soul sound. And once again, Cler delivers goosebumps with her vocals, bringing a seamless mix of simplicity and passion to an timeless hit.

JUNO & Jamek Ortega link up for ‘Deep Breath’ on Crosstown Rebels.

Following an impressive label debut earlier this year alongside Alex Wann on ‘Allo’, crowned Pete Tong’s Essential New Tune, Germany’s JUNO returns to Crosstown Rebels with ‘Deep Breath’ in collaboration with longtime production partner Jamek Ortega. Immediately drawing listeners into a hypnotic, percussive world, snaking rhythms and rattling cowbells build steadily beneath an atmospheric backdrop, before a commanding vocal emerges to anchor the groove. The release continues a relationship that has seen the pair produce across labels including Arodes’ Unreleased Records, Wired World, and more, as well as regular back-to-back performances. On the flip, ‘Sloppy Disk’ sees JUNO step up solo, locking into a driving four-to-the-floor groove where a rolling bassline provides the foundation for pensive chords to drift alongside subtle melodic flourishes, steadily expanding the track’s atmosphere before tumbling into a sweeping, cinematic finale.

JUNO has accelerated onto the scene with hits like ‘Last Dance’ on Magnifik Music and a Hot Mix for Pete Tong on BBC Radio 1, firmly earmarking him as one to watch. Meanwhile, DJ/producer Jamek Ortega continues to connect with audiences worldwide with outings on Three Six Zero, MoBlack, Abracadabra, Madorasindahouse, and more, picking up heavy rotation from the likes of Keinemusik, Solomun, Tiësto, and Black Coffee. Here, the pair show no signs of slowing down as they join forces once again, stepping onto Damian Lazarus’s imprint and marking a major milestone in their respective trajectories.

The UK Players & Friends Hills and Valleys, Rivers and Streams (A Tribute to Idren Natural) 9 brand new tracks by The UK Players. Voiced by Singers and Poets who knew Idren Natural personally. Recorded and Mixed by Supa Yout’ at Earth Works Studio, Amsterdam. Sleeve artwork and written testimonials from close friends and associates. Idren Natural aka Ras Natural aka InI Oneness, DJ, Singer, Chanter, Musician, was a pivotal player and pillar of UK/European Roots, Reggae, Dub, Sound System Culture. A humble Rastaman who did so much for so many, inasmuch as inspiring, encouraging, and connecting. He selflessly helped those less fortunate than himself. A strong advocate of the culture and philosophy of Rastafari. He was a commanding presence who lit up the stage, giving JAH all the glory. His passing was a great loss to the community. The UK Players Dub Band formed in 1996. They teamed up with Ras Natural/InI Oneness to record their debut 7” single ‘Further’ for Jah Works with Producer Jah Rej. This single gained exposure via Jah Shaka, Abashanti, and King Shiloh Sound Systems, even the famous Radio 1 DJ ‘John Peel’ played it. More recordings with Jah Rej at Seventh Sense Studio led to the debut album ‘Take Heed’. During the halcyon days of InI Oneness & The UK Players (1997-2004) they toured the UK and Europe, clocking up over 250 gigs in that time. Amongst brethren within the Rastafari community, the band became affectionately known as Ras Naturals band. Friends of Natural like Ras Iyah, Tony Roots, Sister Aisha, Wayne McArthur, and Barry Isaacs (among others) performed with them during this time. Members of InI Oneness & The UK Players never split up, throughout the years they branched out into other projects, reconvening for specials and one offs. Following Idren Naturals passing in 2022, the band stepped up to play his memorial show, where the idea formulated of making a tribute album to him. Ben King offered the use of Earth Works studio to help realise the vision. Work began with longtime live sound engineer Supa Yout’ in March 2024. Jah Rej assisted production on a number of these recordings, and sadly passed during the making of it, the last album he worked on. Various vocalists who were close to Natural, submitted vocals across the following year. The album was mixed and dubbed in March ‘25 at Earth Works by Soupa Yout' & Kingsway. Artwork and written memories/testimonials were then assembled. Everyone involved in the creation of this album knew Idren Natural personally. This album shines a spotlight on his spirit. Carrying songs of tribute, and messages for the times. ALPHA DUB: Every time the band played a gig, Natural would insist on starting with a dub. In that tradition, this album is no different. ‘Mandlion’ passing through the studio, headtopped a Melodica cut on it. Dubbed to the max by Supa Yout! NATURAL VIBE: The ‘Forward Fever’ crew from Belgium were one of the first collectives that Natural affiliated with in Europe. Here, Ras Cloud cleverly weaves all of Naturals song titles into the lyrics, creating a song in itself. WORD & FLESH: Fellowdread was born and raised in Kingston, Jamaica. Now living in Bristol, England, residing with Natural in his last days. His Poetry is rich in inflection, knowledge and wisdom, teachings that spark up the divine. ALL ABOUT LOVE: A pause for contemplation, this one stills the listener. Rootsman Rak’s words warn against complacency, and encourages action. A completely (natural) acoustic track featuring the skilled percussionist Jonah Dan. REMEMBER HIM: Inna Dubplate style, Barry Isaacs toasts to Idren in personal remembrance, reminding us all of the man he was. The track also features snippets of a phone call from Naturals oldest friend ‘Fergie Greenspears’ recounting memories. RISE UP RASTA CHILDREN: The legendary Tony Roots, graces the album with his unique delivery. Natural, The Players, and Tony go back a long way. A song of strength to affirm the soul, and rally against Babylon. Livicated to the one (Natural) SONG FOR THE RIVER MAN: During those halcyon days, many stages were shared with Albaroot, whom the band met whilst on tour in Scotland. Clark Innes (lead singer/songwriter) reminisces about the force of nature that was Natural, times shared, and that knowing, to never meet again. ONE STEP AHEAD: An interpretation of the ‘Look Inside’ riddim by Reuben Addis. Built for Sound System, it is the only track on the album that rolls into a dub. Lyrical Benjie literally entered the studio, rode the riddim without hearing it first, cutting his vocal in one take! A message for the times that sends shivers up your spine. THE PRAYER: Iman Onedub AKA Iman Gebre Iyesus, member of the Ethiopian Orthodox Tewahedo Church, met Idren Natural at Fairfield House in Bath. Here he seals the album with a recital of the Lord's Prayer in English, with Amharic. His rich textural tones elevated with a one away riddim to carry the listener home.

...a sound unbound by time and space

DRIVETRAIN - Feel Me
Mezmurizing in ethereal pads, a beguiling vocal repetion and punchy rhythm

JAY STRATA - Something 4 U
Mondo bass directs spicy pad lines and female vocal drops for something evocative

DJ SINJIN - Things On My Mind
Straightforward, funky and direct, from the fierce bass line to the aggressive dialogue

DJ MOURAD - Dreams Of An Insomniac
When jazz meets acid and a mythical descendant is born clad in muted trumpet and bleeps

Dutch artist Maurits Verwoerd, aka Nachtbraker, makes his first outing on Up The Stuss with ‘Bodu Imchi’, a four-track collection that highlights the breadth and curiosity that have long defined his work. Drawing from a world that stretches from ambient and cinematic music to dub, jazz-inflected electronics and house, the Amsterdam native has developed a sound that can feel both deeply considered and completely instinctive. Releases across Aus Music, Peach Discs, Heist Recordings, Dirt Crew and his own Nachtbraker and Quartet Series labels have established him as one of the more distinctive voices within the Dutch house landscape, with support from artists including Jamie xx, DJ Seinfeld, Raresh, Shanti Celeste and Axel Boman.

Across ‘Bodu Imchi’, those influences come together in a record that feels fluid, slightly strange and constantly alive. Warmth sits alongside subtle unease, hypnotic grooves give way to more playful rhythmic ideas, and intricate melodies drift through low-slung foundations without ever becoming overly polished. There’s a sense of late-night discovery throughout, the kind of music that rewards close attention but still carries enough physicality to move a room and keep packed dancefloors moving with a locked-in approach. Four tracks, one evolving atmosphere, and a meeting of musical worlds that feels right at home on Up The Stuss. It’s a release that finds character in the fine details: unexpectedtextures, subtle rhythm shifts and elements that seem to appear out of nowhere before then disappearing again. It’s an EP that moves between heads-down focus and hazier hours, capturing the curious, nocturnal spirit that runs through his work.

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

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

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

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

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

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

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

It is a real testament to the enduring quality of the early tech house blueprint laid down by Eddie Richards that whether he drops reissues of his early classics or more recent sounds, they always sell out. This EP arrived last summer and soon flew off the shelves os it is back once again on purple vinyl this time and sounding as fearsome as ever. 'Destiny' is roomy, with swung drums bringing a pendulous groove as twanging modulations and freaky vocals linger in the spaces. 'The Soul' is quicker and fleshes out with broad synth stokes and a bubbly low end. It's pure dancing tackle with a moody soul.

There are few electronic musicians as accomplished as A Guy Called Gerald From writing genre-expanding records as a member of 808 State and as a solo artist, to crafting what journalists call the greatest jungle album ever made under the moniker Black Secret Technology, AGCG has spent four decades redefining what electronic music can be. With collaborations, remixes, and tracks for the biggest names in house, techno, drum & bass, and jazz, one thread remains constant: in any decade or any genre, AGCG's music continues to be celebrated as genre-pushing excellence.

Juice Box is AGCG's label, named after his Manchester-based soundsystem. Originally established in 1992, the label went on an unofficial hiatus before the decade's end as AGCG's output demanded wider release. pairing two essential cuts from Gerald's vault that have long deserved proper vinyl treatment. On the A-side, the absolute classic "Voodoo Ray" finally returns to wax. On the flip, 1990's "I Won't Give In" resurfaces from the archive, a reminder that even Gerald's deep cuts carry the weight of lost classics. Juice Box is back, and the catalog has plenty of treasures to unearth, along with new material from one of the all-time greats.

The anime-loving crate diggers behind the Secret Vault series are back with some more disco edits of the highest order, and once again they're aimed squarely at the dancefloor. The A-side transforms an overlooked groove into a peak-time powerhouse, driven by muscular drums, rolling bass and a perfectly paced arrangement that keeps the energy locked as the vocals keep on adding fuel to the fire. Flip it over for a breezy and uplifting, horn-soaked disco workout packed with hooky bass and ever-rising vibes. Respectful of the originals but with the sort of punch needed to cut through. Another doozy from this small but well-formed label.

Father Hervé and son Louis return as FRONTMASCHINE with “Rühren”, their most accomplished and refined work to date. United by a shared passion for the rawest and most uncompromising forms of EBM, the duo continues to explore the essence of body music while pushing their sound to a new level of maturity.

On “Rühren”, cold, almost chilling polyphonic synthesizer melodies intertwine with their classic relentless drum programming that sits somewhere between the militant precision of DAF and the mechanical drive of the “Commando days” of Front 242. Every track is built around pure functionality: no unnecessary ornamentation, no concessions—just stripped-down, commanding rhythms designed to move bodies.

This is an exceptionally DJ-friendly record. Each cut is crafted for maximum impact on the dancefloor, making “Rühren” an essential tool and a true secret weapon for any DJ devoted to uncompromising body music. Martial, hypnotic and brutally effective, FRONTMASCHINE once again prove that the most direct approach is often the most powerful.

Disco Segreta is going to make Italo disco fans very happy once again, with the reissue of one of the hardest-to-find and most coveted late Italo disco obscurities: Gabriella Bove’s “Autoblu”.

Originally written and produced by Argentine-born singer and songwriter Chaly Albert, “Autoblu” has recently caught the attention of hardcore diggers for its unmistakable ’80s Italo disco sound paired with a chilled sun & sea latin vibe, melting Italo disco with synth-pop.

Released in 1989, when the Italo disco craze was starting to fade into what would eventually become the early Italian dream house sound, “Autoblu” pairs Bove’s peculiar vocal presence with a combination of sounds that is now instantly associated with the Balearic aesthetic. Perhaps precisely because it was so ahead of its time, the record failed to find its audience upon release: of the original 500-copy pressing, most copies reportedly ended up being destroyed.

Disco Segreta reissues both original 12″ versions in a strictly limited edition, sourced from the original master tape and faithful to the tracklist and aesthetic of the original release.

Xistence Records reaches its eighth release with what may be its most important record so far, bringing together four artists whose music carries the spirit and evolution of Detroit techno. With selections reaching back three decades alongside new material, the EP connects different eras of tracks that exemplify the raw soul, machinery and futuristic thinking at the style's core. Sean Deason opens with 'Time Warp', originally appearing on his Matrix label in 1996 and finally receiving its first vinyl release. Thirty years later, its dramatic entrance and surging rhythm have aged perfectly. Energy is matched by genuine depth and soul, with its futuristic energy at the heart of it all. Label owner Arbilla follows with 'Electric Storm', harnessing the power of a great techno groove creates a blend of infections elements working in harmony. The second side reaches back to 1998 for a previously unreleased DX-9 production. A pounding Chicago warehouse beat meets the mechanical precision of Detroit, while a heavily over-arching acid line fuses the marriage these two deep-rooted cities. Legendary producer, Orlando Voorn closes proceedings under his Basic Bastard alias with 'Alone Together'. Perhaps the sickest groove of the EP. opens up a spacious atmosphere that gives the track an almost celestial quality. Inspired by Detroit techno’s evolution and its key figures, Xistence continues to show why it has become one of the rare trusted homes for proper techno.”

(Tim Humphrey from Electric Cafe)

Continuing the Hyperspace instrumental ambient series tradition are two ensembles: Mindstreams, and the duet Squash and Biscuit. This LP features a full side for each artist and is pressed in lavender vinyl. Mindstreams is a vocalized ambient bed of sound by JP Berreondo and Stefanie Naifeh. From opera to avant-garde, neo-cabaret to singing world music in 15 languages, Naifeh journeys through a colorful mosaic of music. She began her classical training at the age of 8, performed with the San Francisco Opera in the children's choir in Carmen, and majored in opera at UCLA. She later formed the avant-garde, neo-cabaret band, The Underthings in 1987. Squash and Biscuit is a Los Angeles based husband/wife team featuring composers Shuwen Zhao and Brian Griffith. Recorded live from 2020-2021, each piece serves as a short investigation into the world between sound and music using found sounds, musical samples, instrument recordings, and voice manipulation. Limited to 300 copies

2026 Repress

Celebrating dubwise origins, Mole Audio delivers two fresh remixes of their very first release: Andy Martin ft. Gavsborg's Plato & Caves.

Gavsborg is a towering figure in Jamaica's dancehall scene. So when Andy found an acapella, he set to work on a renegade edit. Subsequently approved and embraced by Gavborg himself, Andy's interpretation provided the launch point for Mole Audio - and is re-envisioned twice more here.

Paired with the original A-side, the B-side remix comes courtesy of south London’s legendary Dub War. Benny ill & Bill Robin are progenitors of the original London Dubstep sound, and their Dub War releases on Tempa are highly prized among collectors.. Pairing hypnotic beats with spacious textures, an insistent analog bass line weaves its way through an infectiously dystopian atmosphere.

Taking a minimalistic house-driven approach, Andy's all-new Mad Magnetism Version brings Gavsborg's original vocal to a prime time environment. Sizzling high hats and diving bass drops combine to keep the dancefloor in motion before insistent dub chords further elevate the urgent atmosphere.

Combined with the original and Nit Yardman's remix, the resulting package once again showcases Mole Audio's unique approach to modern dub aesthetics.

Unless you’ve been living under a rock you will have bound to have heard Prospa and Cloonee’s 2026 Summer anthem Free Your Mind which reimagines the iconic vocal from this legendary Fibre Foundation track. Featuring Sybil’s vocals originally heard on Oh, How I Love You, produced by Victor Simonelli, Prospa & Cloonee’s track introduces the beloved hook to a new generation of House music fans.

Now for the first time since it’s initial release in 1995 Free Your Mind by Fibre Foundation, one of the many aliases of New York house mainstay Victor Simonelli, is available again on the original label, Victor’s own Big Big Trax.

Driven by uplifting piano riffs, soulful vocal touches and groove-led rhythms, the track captures the essence of classic US garage house, delivering a feel-good energy that continues to resonate on modern dancefloors.

Featuring a selection of mixes including UK Mix, NJ Mix, Instrumental and Bonus Dub, the release offers strong versatility for DJs across house and garage sets, from peak-time moments to deeper transitions.

Rooted in the New York house tradition, Simonelli’s productions sit comfortably alongside artists such as Masters At Work, Todd Terry and Kenny Dope, making this a natural fit for stores supporting classic US house and garage.

Back on fresh 12" vinyl, this iconic release maintains strong appeal for both collectors and DJs looking for reliable, time-tested dancefloor material.

Available again for the first time since 1970, Lobo’s melancholy masterpiece epitomizes the experimental evolution of MPB. With new liner notes by Edu Lobo.
Released in 1970, Cantiga de Longe is a defining record in the career of Brazilian singer, composer, and guitarist Edu Lobo and a significant contribution to Música Popular Brasileira (MPB). Created during Brazil’s military dictatorship, the album reflects the subtle, poetic strategies that artists use to convey meaning while subject to censorship. Rather than overt protest, Lobo expresses longing and introspection through refined musical language and evocative lyrics.
Musically, the album captures the sophistication of MPB at the turn of the decade. A foundation of acoustic guitar blends with jazz-influenced harmonies and elegant arrangements. The sound is both intimate and expansive: delicate vocal lines unfold over complex progressions, supported by understated rhythms, rooted in Brazilian traditions. Lobo’s controlled yet expressive vocal delivery keeps the lyrical nuance at the forefront.
A key element of the album’s texture is the involvement of Hermeto Pascoal. His imaginative instrumental contributions add subtle harmonic color and atmospheric depth, enriching the refined arrangements and enhancing the sense of openness.
Thematically, the album explores memory, distance, solitude, and time—personal reflections that resonate with the broader climate of uncertainty that dominated Brazil in 1970. This remains one of Lobo’s most mature recordings, exemplifying the emotional depth and artistic subtlety of Brazilian popular music in a creatively fertile era.

Charlotte de Witte now unleashes her slamming three-track EP ‘The Resistance’, featuring Theo Nasa and XSALT, out on KNTXT. It follows the astonishing summer tour of her new audiovisual show ‘The Resistance’, including a spectacular ‘XXL’ version at Belgium’s Rock Werchter in July, for a 40,000 audience watching from inside and outside the tent.

World #1 techno artist Charlotte de Witte’s new show continues a standout year of experimental ventures and celebrations, global pop-up shows, monster street parties, incredible new music (EPs and Deluxe LP)… and most recently ‘The Resistance’ AV show world premier at UNVRS Ibiza and the EU tour. The new ‘The Resistance’ EP is hard, fast, and uncompromising. It features Theo Nasa, whose raw, deep techno EP ‘Lifeline’ was released on her KNTXT label; vocal artist / longtime collaborator XSALT, (previously on ‘No Division’, ‘Overdrive’, ‘Roar’, ‘How You Move’); and Charlotte’s own vocals on a personal track ten years in the making.

‘The Resistance’ EP title track feat. Theo Nasa is urgent, demanding, unapologetic. Juddering main theme, rattling hyperspeed beat, spacey hoover swoops form a matrix for the deep, amused authoritative voice of Nasa – ‘we are unity, we are techno’. The brief ‘The Resistance (Intro Version)’ opens with futuristic FX and Nasa’s voice to the fore introducing the techno credo.

‘Never have I ever teased a track this much as I teased ‘The Resistance’. From the moment the track was being made in the studio, I knew this was going to be a special one. Theo Nasa captures the spirit of the underground and guides you through the essence of club culture like no one did before. An entire A/V show grew out of this feeling, this philosophy. It’s one of the biggest tracks I’ve ever made.’ Charlotte de Witte

‘See Through The Lies’ feat. XSALT: futuristic FX, fast stabby synth theme, and XSALT intoning ‘see through the lies. It’s time to take control’. A message of defiance. ‘XSALT delivers again on ‘See Through The Lies’, offering his own take on the EP's theme. Open your eyes. Break the illusion, see through the lies. Release the pressure. It’s time to take control!’ de Witte says.

‘Another Place’ has relentless pace, twanging pizzicato synth, and de Witte’s whispered phrases becoming full voice. ‘’Another Place’ has been in the making for over a decade. It saw the light of day in Brussels, where the lyrics took shape together with my friend One Track Brain. The track was forgotten and resurfaced years later, leading to an entirely new track created around that magical vocal from all those years ago. This is an EP very close to my heart.’

At the heart of ‘The Resistance’ EP and AV show is a message central to de Witte’s work: Protect Club Culture and the communities that sustain it. That’s why de Witte is donating all proceeds from The Resistance EP to The Nighttime Foundation, a global nonprofit dedicated to safeguarding and shaping the future of nightlife, empowering grassroots communities and promoting nightlife as a vital form of culture worldwide.

Colours, to the mast, well and truly nailed.

The tracks on the upcoming Boysonic release are a snapshot of a period largely absent from the discussion around Romanian electronic dance music: the first half of the 1990s.

Boysonic’s music was made in the face of considerable adversity, in a Romania still reeling from the aftermath of the 1989 revolution, spiralling inflation of over 200%, and the violence of the early-1990s Mineriads. In the gatefold photos, one of the band’s members can be seen performing live wearing a miner’s safety helmet, a piece of stagewear, but also a charged symbol of the period.

The original music on Madhouse was made in Bra?ov during 1993–1994. Situated away from Bucharest’s political and cultural centre, Bra?ov gave the project its own slightly detached rhythm. Classically trained in piano and active in local radio, Mihai Barb developed Boysonic as a largely one-man act, often joined live by a changing cast of dancers and vocalists. In the absence of a developed club circuit, early performances took place in pre-1989 concert halls, seaside resorts and local entertainment circuits organised around regional radio stations.

Agnostic in genre and unusually fluid in approach, Madhouse moves through downtempo pop burners, KLF-type UK house, boomy breakbeat, new beat and acid-leaning experiments. The material reflects a short-lived moment before the Romanian mainstream/underground divide had fully taken shape, when electronic music lacked infrastructure but not imagination.

Sampling was used generously, with drum loops, vocal fragments and preset banks repurposed through software such as ProTracker and further processed outboard.

The release comes as a 2xLP gatefold.

Remixes are from Benedikt Frey, Boysonic, Cosmin TRG, Flore of Khidja, Romansoff, and Tankwart.

Bondage-Music proudly welcomes back Markus Homm with his latest vinyl EP, "It's Safe To Say." Continuing his long-standing relationship with the label, Homm once again delivers the warm grooves, crisp rhythms, and unmistakable dancefloor sensibility that have become his trademark.
Across four carefully crafted tracks, Markus Homm combines rolling basslines, soulful vocal touches, and refined house grooves with subtle techno influences. From the infectious swing of "My Alibi" and the driving title track "It's Safe To Say" to the soulful energy of "I Got All This Love For You" and the hypnotic flow of "Rush," the EP is built for both peak-time club moments and extended listening sessions.
As a special treat for vinyl collectors and DJs, two exclusive tracks are available on vinyl only, continuing Bondage-Music's tradition of offering unique content for the format.

Nach ersten limitierten Singles veröffentlicht The Operator Sound INC. sein Debütalbum "Esoteric Audio For Space Age Witchcraft" innerhalb der "21st Century Library Music"-Reihe des englischen Labels Library Of The Occult. Die Aufnahmen erfolgten direkt auf Tonband unter Verwendung modularer Synthesizer, einer alten elektronischen Orgel und einfacher Rhythmusmaschinen und liefern den klassischen Space-Age-Lounge-Vibe der 1960/70er Jahre, jedoch auf eine düstere und okkulte Weise verfremdet, die aus einem Planetarium der 70er Jahre zu stammen scheint.

Reissued Rise Against: Revolutions Per Minute (2026) anlässlich der aktuellen Feierlichkeiten zum 35-jährigen Jubiläum von Fat Wreck auf violettem Vinyl gepresst! Ursprünglich 2003 über Fat Wreck Chords veröffentlicht, entstand das zweite Album von Rise Against "RPM" inmitten von Tourneen durch die USA, Kanada und Europa. Nach einigen Wochen im Studio Blasting Room Studio, wo sie gemeinsam mit Bill Stevenson (Descendents) und Jason Livermore die Aufnahmen einspielten, präsentierte sich das Quartett mit diesem von der Kritik gefeierten zweiten Studioalbum. Revolutions Per Minute verbindet auf meisterhafte Weise die rasante Energie des Punk mit scharfen, eingängigen Melodien. Tim McIlraths leidenschaftlicher Gesang transportiert gesellschaftskritische Texte in herausragenden Songs wie "Like the Angel" und "Black Masks & Gasoline". Das Album prägte den Punk der 2000er Jahre maßgeblich, schlug die Brücke zwischen rohem Underground-Hardcore und Mainstream-Rock und gilt heute als Meisterwerk des Genres sowie als das definitive Underground-Werk der Band. Band credited with creating a new sound - branch of melodic hardcore and political punk Rise Against's sophomore breakout album, produced by Bill Stevenson and Jason Livermore at Blasting Room Band has amassed 2 platinum records and 5+ gold records in multiple countries and 5+ Top-Charting Alternative Rock Radio hits Features hit singles "Heaven Knows", "Black Masks & Gasoline" and "Leaving Jesusland" Known for their progressive politics, veganism, and outspoken views

DJ Support: Moodyman, Groove Armada, Folamour, Horsemeat Disco, DJ Deep, Art Of Tones, Sophie Lloyd, Terry Farley, Stuart Patterson and Seamus Haji

Al Kent needs no introduction when it comes to being one the most prolific kings of disco in the UK. He reimagines hidden treasure and takes inspiration from the glory days of 70’s dancefloor nuggets to create modern day classics. Come Back Home (Again) is probably his most popular track to date and here he re-works it with his Disco Love Orchestra updating this disco gem for a new generation. A Philly style musical sound-bed with hooks galore topped by one of the most rousing, soulful male vocals you’ll hear in a long time.

Pressed on a tasty 7 inch with dinked hole limited stock so act fast!

Das 2016 erschienene "Teens of Denial" markiert einen entscheidenden Wendepunkt in der Karriere von Car Seat Headrest und insbesondere von Frontmann Will Toledo. Nach einer Reihe von lo-fi Bedroom-Produktionen, die Toledo größtenteils allein aufgenommen hatte, war es das erste Album, das mit voller Bandbesetzung und größerem Studioaufwand entstand. Veröffentlicht wurde es über das renommierte Indie-Label Matador Records, bei dem Toledo kurz zuvor unter Vertrag genommen wurde. Das Album verbindet introspektive Texte mit energiegeladenem Indie-Rock und greift Themen wie Selbstfindung, Angst, Isolation und Jugendkultur auf. Songs wie "Fill in the Blank", "Drunk Drivers/Killer Whales" und "Destroyed by Hippie Powers" wurden schnell zu Publikumslieblingen und halfen der Band, ein deutlich größeres Publikum zu erreichen. "Teen Of Denial: (Joe"s Story)" ist nun ein komplettes Remake dieses 10 Jahre alten Klassiker. Toledo, der seinen Songbook gerne neuinterpretiert, wechselt hier die Perspektive und erzählt die Geschichte aus der Sicht von Joe. Auf dem Originalalbum verwendete Toledo häufig den Namen "Joe" als Pseudonym - eine subtile Hommage an Daniel Johnston. Als er Teens im Vorfeld seines 10-jährigen Jubiläums erneut aufgriff, verspürte er den Drang, Joe eine eigene Hintergrundgeschichte zu geben, und begann, das Album entsprechend anzupassen, um diese Geschichte zu erzählen. Die Band kehrte gemeinsam mit dem Teens-Produzenten Steve Fisk ins Studio zurück, um das Werk zu überarbeiten - mit angepassten Texten, überarbeiteten Arrangements und neuen Aufnahmen im "Denial-Stil", darunter "Optimistic Son" und die hymnische Single "Joe Drives Again". Das Ergebnis bewahrt die düstere Note und den jugendlichen Zynismus von Teens, lässt aber zugleich eine Spur mühsam errungener Mitmenschlichkeit in den Gesamtklang einfließen.

Trumpeter, rapper and sonic wanderer Pan Amsterdam has carved out one of the most distinctive voices operating at the intersection of jazz and hip-hop today.

Pan Amsterdam is a musical enigma wrapped in an enduring riddle. His creator is a jazz musician from Houston who’s found fame working with Detroit punk rock God, Iggy Pop, and British indie royalty, Metronomy, and now makes shapeshifting, adventurous hip hop out of the music’s spiritual home, New York.

He’s an irreverent character born out of frustration and named after a misunderstanding, yet one who’s on the verge of releasing his fifth album of truth-slaying, genre-crossing rhymes and beats. The result is a catalogue that feels both deeply rooted in Black American musical tradition and completely untethered by convention.

Pan Amsterdam returns with ‘Panarama’, his fourth full length album and a bold reassertion of his hip hop identity, released via Def Pressé. Created by Houston-born, New York-based musician and composer Leron Thomas, the record finds Pan Amsterdam embracing the harder edges of his sound while continuing to blur the lines between jazz improvisation, abstract rap, punk attitude, and experimental production

Written as a response to contemporary life and the endless cycle of information, conflict and distraction that defines modern culture, ‘Panarama’ unfolds as a stream of consciousness journey through hyper-normalised realities. Across sixteen tracks, Thomas navigates social commentary, personal reflection, absurdist humour, and cultural critique, delivering his observations with the same spontaneity and freedom that have become central to the Pan Amsterdam project

Lead single ‘Szechuan Beef’, produced by acclaimed collaborator 1FS, serves as one of the album’s defining statements. Built around Thomas’ signature free-flowing delivery, the track explores the overwhelming nature of contemporary life, where domestic conflict, social division, entertainment scandals and political discourse become flattened into a constant stream of content.

In Thomas’ own words: “My stream of consciousness style comes quite naturally to me due to the conditioning of scroll down culture where everything, no matter how minor or extreme, is hyper normalised.”

Elsewhere, the track ‘Vanilla Ice’ was written in response to widely publicised ICE killings and the speed at which tragedy is absorbed and forgotten within online culture. Thomas channels the anxiety and emotional disorientation of endlessly consuming information, allowing his thoughts to unfold in real time as social commentary collides with everyday digital noise. The result is both deeply personal and sharply observational, reflecting the fragmented reality of modern life. Other album highlights include the cinematic, Interpol-esque opener - ‘Old Friend’ complete with shimmering guitar lines and an far-reaching introspective, no-filter vocal as Thomas teams up with Nick Zinner (Yeah Yeah Yeahs) and Brad Truax (Interpol) across multiple tracks, often the production traverses left-field indie territory, but always maintaining Pan Amsterdam’s unique musical identity throughout. For the hip hop purists and beats lovers there are plenty of riches to discover from the clever nostalgic sample flips of ‘Cutlery’, the sleepy lofi of ‘Shuriken’ and the wonky LA beat scene / early Flying Lotus era beats of ‘Drunken Noodles’ - all boasting quick witted lyricism. ‘Deep Fried Shiney Things’ explores early electro and industrial sonics while album finisher is an upbeat new wave / indie band cut which sees Thomas take a break from rapping, but of course never letting up on the sharp observations nonetheless


While his previous record explored more alternative territory, ‘Panarama’ marks a deliberate return to rap, as Pan Amsterdam explains:

“I just wanted to do a rap album again.I enjoyed making my last album, but I felt like rapping again. I like to have the freedom to move in between musical worlds that suit the current state I’m in. Frequency accommodating frequency.”

This philosophy runs throughout the album. Tracks move effortlessly between jazz-inflected arrangements, experimental beats, punk energy and underground hip hop aesthetics, allowing ideas to evolve organically rather than conforming to traditional structures. Thomas describes himself as an improviser first and foremost: “I think like an improvisor. That’s how my albums pretty much move. It’s improvisation.”

Featuring additional contributions from Spice Programmers, AnOtter and Mr. Shn, ‘Panarama’ presents a wide-ranging cast of collaborators while remaining firmly rooted in Thomas’ singular creative vision. The record embraces contradiction, humour and unpredictability, capturing fleeting thoughts and observations with the same freedom and spontaneity that define jazz improvisation itself.

A musical enigma wrapped in an enduring riddle, Pan Amsterdam has built a reputation as one of contemporary music’s true outsiders. The project emerged from frustration, experimentation and artistic freedom, with Thomas drawing equally from his background as a jazz musician and his collaborations with artists including Iggy Pop and Metronomy. Operating from New York while carrying the spirit of Houston’s musical heritage, Pan Amsterdam has developed a distinctive voice that sits comfortably between avant-garde jazz, underground hip hop and experimental music.

Reuniting with Def Pressé for ‘Panarama’, Thomas explores what he describes as the more hardcore side of his artistic identity:

“They let me do anything and everything I wanna do so long as it’s on audio, and I need that freedom. What may verbally be perceived as vulgar to one group of people may be very thoughtful and a poignant description of the times that we’re presently in, so I’m glad that I’m part of a label home that understands that.”

Richly progressive folk-informed heavy post-rock and a sick burn to boot. - The Obelisk Rebecca Vernon (SubRosa), the driving creative force behind THE KEENING returns with her second album, Devotion. The new album sees Vernon and company releasing one of the year's most evocative albums; a truly compelling mix of slow burning, ethereal post-rock, folk, goth, and soaring doom. For Vernon, the writing process for Devotion took place in two starkly different environments. It ranged from the contemplative solitude of a friend’s cabin in a deserted Idaho ski resort, to the hectic reality of a 55+ senior living community in Spokane, Washington, where she was staying with her father. This shift resulted in an explosive album with a subtle duality that resonates throughout its most poignant moments. Take the lead single, "A Little Bit of Blood," for example. Quiet, acoustic guitar strums give way for Vernon's haunting vocals, before the backing instrumentation explodes into a soaring chorus reminding the listener that sometimes the best paths taken are the most difficult. "You drew a little bit of blood to show me Just a little bit of blood to make me see It took a little bit of blood to wake me Just a little wound in the night to free me" In a 2024 interview with Decibel Magazine, Vernon discussed the drastic shift in heavy music's themes in recent years, highlighting a willingness to convey raw emotion: "Metal is beginning to share more vulnerable things, more confessional things. Metal has almost become a safe place to talk about those things. People are being open with their struggles. Twenty years ago, they wouldn't have." Devotion lays these emotional confessions bare and showcases a truly bright burn. Devotion was recorded in April 2022, again at Hallowed Halls in Portland, with Billy Anderson and Nathan Carson featured in their same roles as heard on Little Bird. Once again, Vernon showcases her writing prowess, having a heavy hand on all the instrumentation for Devotion; Vernon played drums, guitar, piano, organ, and hammered dulcimer, and provided most of the vocals on both albums, with a few guest vocalists added to the mix.

It’s the last W133 release for the summer of ’26 and it’s a big one. Label Papa Pino and Rotterdam’s samwho pair up for a banging, driving, proggy collaboration/split EP entitled “Baobab”. The duo behind W133 bestseller “Jacarandas” unite again for two more collaborative productions, complemented by one solo track each! Samwho starts off the EP with “D’espia”, a highly energetic progger with dreamy pads, crispy dembow percussion and sexy vocal stabs! On A2, we find the first collaboration, “Caramelo”. The two producers return to their signature percussion work, paired with a venomous rolling bassline and mysterious vocal snippets. On the flip side, the second collaborative track, “Lemon Hasj”, bangs in! A highly intense breaker with catchy vocal shots and chart-hit character. To close it off, Pino Peña delivers his solo production “Swarm Mystique”. The tune starts with a laid-back yet energising groove before swarm-like melodic pads creep in mysteriously! The cover artwork features a photograph taken by Philipp in Kyiv, Ukraine, printed on a two-sided cover sleeve. “Baobab” will be released worldwide on vinyl and digitally on 16th October.

Turner Club are a UK house duo who met in the North East more than 20 years ago. They head up their own label and often explore melancholic sounds with cuddly grooves, and this time they land on Jason Wilkins aka Camille's Adeen label with three hugely tasteful original cuts, with a neat remix completing the package. 'All For Free' has a heavy groove that's softened by the gentle male vocals and smeared chords. 'Hard Lovin' Me' has the astral colours and swirling ambience of classic Larry Heard again, with a tender vocal. 'Find A Way' picks up the pace with more strident drums and crisp percussion as the vocal infuses the mix with sunk-spoken warmth and soul. The Glenn Davis remix is soft-focus deep house with a nice dusty edge.

Toronto in the spotlight again, as three of the city's finest line up in the shape of Ali Black, Sean Roman and Toronto Hustle. This outing for Selections is sublime deep house with a subtle nod to the smoother end of the garage spectrum. 'Shelter Me' has the sort of vocals that get you curling your lip, such is their emotional pull, while the drums are cuddly and the pads balmy to make for a perfectly immersive and calming sound. The Toronto Hustle Late Night dub beefs up the low end and makes it even more comforting and all-consuming, while the vocals become wispy infusions that are layered carefully into the mix. Timeless sounds.

The Rio-based project Pra Gira Girar presents a new interpretation of the song Atabaque Chora, originally made famous by the trio Os Tincoãs. Written by Dadinho and Mateus Aleluia, the piece opens the group’s iconic 1977 album Os Tincoãs —and has now been chosen to mark the beginning of Pra Gira Girar’s own recording journey.

Formed by Alvaro Lancellotti, Michele Leal, and Alan de Deus on vocals, Pedro Costa on guitar, Kassin on bass, Zé Manoel on piano and vocals, Zero Telles (in memoriam) and Anna Magalhães on percussion, and Diogo Gomes on trumpet, the project was born from Alvaro Lancellotti’s long-standing admiration for the work of Os Tincoãs and his wish to create a live show celebrating the legendary trio.

For a year, Alvaro, Michele, Alan, and Pedro made up the core of the group, meeting weekly for rehearsals that became a deep dive into Os Tincoãs’ intricate vocal arrangements. These sessions were essential to recreating the grandeur and complexity of the Bahian trio’s music. Pedro Costa transcribed the vocal lines and, together with Michele Leal — a singer-songwriter with a background in choral singing — adapted the arrangements for a formation that, unlike Os Tincoãs, features a female voice.

The final chapter of Freerange’s 30th anniversary series arrives with Volume 5, bringing together six brand new and exclusive tracks from across the Freerange family, and beyond. As with the previous four volumes, it’s a snapshot of the label’s enduring musical DNA — deep, soulful, underground, and resolutely dancefloor-focussed.

"Firebreather formed in Gothenburg in 2016, rooted in crushing, sludge-doused doom from the very beginning. Never wavering from that commitment across all three of their incendiary full-length releases, the trio has pursued weight with purpose, not as spectacle, nor as an exercise in excess, but as the only language broad enough to hold the emotional reach and sonic heft of their sound. The music arrives in a way that writes itself with no distance between the words and the sound; they rise from the same cursed ground, and that honesty has become the band's defining force. Firebreather is a band that never postures or asks to be admired for their heaviness- and to see them live is to experience exactly why. Their weight takes on another life entirely. The band's towering tone and consuming grit don't fill a room so much as alter it. Volume presses against the body before the first lyric lands and riffs arrive like shifting earth. The drums don't drive the songs forward; they anchor them while the line between sound and physical force begins to disappear. Years spent crossing Europe and North America have only sharpened that purpose, and a decade on with a fourth album on the way via the notorious Heavy Psych Sounds Records, Firebreather remains exactly where it belongs. Head down. Volume up."

Gold Nugget Vinyl, limited to 400 copies. "Firebreather formed in Gothenburg in 2016, rooted in crushing, sludge-doused doom from the very beginning. Never wavering from that commitment across all three of their incendiary full-length releases, the trio has pursued weight with purpose, not as spectacle, nor as an exercise in excess, but as the only language broad enough to hold the emotional reach and sonic heft of their sound. The music arrives in a way that writes itself with no distance between the words and the sound; they rise from the same cursed ground, and that honesty has become the band's defining force. Firebreather is a band that never postures or asks to be admired for their heaviness- and to see them live is to experience exactly why. Their weight takes on another life entirely. The band's towering tone and consuming grit don't fill a room so much as alter it. Volume presses against the body before the first lyric lands and riffs arrive like shifting earth. The drums don't drive the songs forward; they anchor them while the line between sound and physical force begins to disappear. Years spent crossing Europe and North America have only sharpened that purpose, and a decade on with a fourth album on the way via the notorious Heavy Psych Sounds Records, Firebreather remains exactly where it belongs. Head down. Volume up."

Der Soundtrack zur Prime-Originalserie Spider Noir erscheint auf opak-silbernem Vinyl. Die Doppel-LP kommt im Gatefold-Cover mit exklusivem Artwork und enthält ein Sammlerposter als Beigabe. Spider Noir basiert auf der Marvel-Comicfigur Spider-Man Noir und spielt im New York der 1930er Jahre. Im Mittelpunkt steht Ben Reilly (Nicolas Cage), ein abgekämpfter Privatdetektiv, der nach einer persönlichen Tragödie mit seiner Vergangenheit konfrontiert wird - und zugleich als Superheld der Stadt agiert. Der Soundtrack umfasst den Titelsong "Saving Grace" von KIRBY, die Originalmusik von Kris Bowers und Michael Dean Parsons sowie weitere in der Serie verwendete Stücke.

The wonderful Scruniversal takes a sidestep into electro here with a remix of a tune by Liza Gromova, a talented musician and rising star in the pop and indie world who hails from Moscow. Lipelis reframes her 'Papa, Poputny Veter' with 80s synth shimmers, glassy melodies and minimal electronics that maintain the emotional vocal of the original and manage to marry its optimism with a bittersweet edge. The flipside instrumental is another intimate sound but with an irresistible groove that will appeal to wave and Italo fans. Two ageless cuts that are subtly hooky.