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'Anon 1' was originally released as a very limited Anonymous 12" on Past Inside the Present in 2020, featuring 36 and Isaac Helsen. The idea was to let people hear the music and judge it not on the names behind it, but purely on the quality of the music itself. When it sold out, the label revealed who wrote it. Obviously quite a few 36 & Isaac Helsen fans missed out, so Past Inside the Present repressed the record, but this time with the knowledge of who made the tunes now public.

Two artists that have previously released works on Past Inside the Present come together for this anonymous split album. With this record we want listeners to go in blind, without ego or expectation, with the sole focus on what truly matters: the music. The artists will remain anonymous until the vinyl sells out and then we will reveal all.

Strictly limited promo with 2 house edits made by anonymous but famous French DJ. Those who know will jump on it !

Moulded By Industry is William D Drake's six album, his first for ten years and a return to the richly layered sonic texture and epic production of his majestic Briny Hooves. He is joined by long time collaborators James Larcombe, Dean Gaisburgh-Watkyn and Steve Jackson, with the addition of a new crew member, singer Treana Morris. Moving on from his nine years of pianistic and compositional duties in Cardiacs, Drake's solo work has been known for its synthesis of Mellotron-driven grandeur with a surreal playfulness.

But the deep heart of Drake's work is in its powerful evocation of the landscape of the countryside and its connection with love, longing and loss. To this end, his own enigmatic lyrics have rubbed shoulders with poetry drawn from across the centuries. From obscure sources such as Samuel Spree to the poetry of Thomas Hardy and Rupert Brooke, his settings make old words shimmer with human emotion. The texture of his music also reflects an inspirational lack of concern for distances of time. The earthy breath of his harmonium is interwoven with tones teased from archaic instruments by James Larcombe – hurdy-gurdy, dulcitone and melodeon.

But Drake's sound-world is no museum. Here, ancient words and the timbres of ancient instruments become one with the rush of a moment's emotion. Moulded By Industry brings this approach a new sonic depth, intoxicatingly shaded by Treana's lush vocal harmonies and underpinned by Steve's rhythm. Dean's evocative guitar textures give an oceanic sense, tinged with Americana, recalling his work with Drake in their alt country band Nervous. These many layers of sound are drawn together into vivid soundscapes by the painterly mixing of producer Ott. Renowned for his work in electronica and dub, Ott's two decades of experience working with artists such as Sinéad O'Connor, the Orb and Brian Eno bring an organic touch here, more akin to the elemental forces of land and sky than grid electricity. More than any of Drake's previous albums, Moulded By Industry reignites the emotional urgency of old texts. The gorgeous single The Flickering Shade, haunted by glimmers of lost possibilities, is set from words by Thomas Ashe. Turtledove's heady evocation of the blissful madness of love sets the words of an anonymous 17th century ballad. above all, the album is a testament to Drake's love of John Clare, 'The Northamptonshire Peasant Poet'. Clare wrote as the centuries old process of enclosure, in which wild and common land was appropriated commercially, was accelerating.

His works, rather than representing simple sentimentality, are passionate love poems to the landscape and cries from a soul reeling from the creeping unfamiliarity devouring it. This sense of the tension between passion and ill-ease has its most potent expression in Green Shadows. The brooding, slow-tempo energy of Steve's drums drive a horizon-wide lament, alternately lulled by Treana's vocal textures and made restless by James' plaintive hurdy-gurdy and the emotive pull of Dean's slide guitar. The present moment is also a time of enclosure, both metaphorically, as our lives, memories and emotions are drawn into the commercial space of social media, and literally as land and water are swallowed by vast data centre developments. Moulded By Industry celebrates a regained sense of being in the moment in the landscape, in life and in love. The album closes with the utterly delightful single Love In The Universe. The kind of song that could make a cynic use the word 'joyous' without irony, this Harry Nilsson-esque romp reassures us, with a wink, that 'in an infinite universe everything has its place ... even the human race'.

Picking the best songs out of Focus’s legacy is no easy task: they have released so many top quality progressive songs it’s deemed almost impossible. However, Hocus Pocus (Best of Focus) manages to compile two records filled to the brim with the best that Focus has to offer.

The obvious tracks such as “Sylvia” and “Hocus Pocus” are included in the track list alongside “House Of The King”, “Harem Scarem” and “Anonymus”. A must for anyone wishing to recap on lost memories or as an introduction to the merits of Focus!

Hocus Pocus (Best of Focus) is available as a numbered limited edition of 1000 copies on red and white swirled vinyl

Sorry We Play Vinyl makes no bones about their love of wax, and when they serve up music as worthy as this, then who can fault them? It's another anonymous offering with three cuts that traverse a wide world of sound. 'EDIT16' starts with an elephantine swagger and cow bells adoring a deep minimal sound next to woozy, aloof vocal musings. 'EDIT17' has a more ethnic groove that's clean and fresh, and this time the foreign-tongued vocal brings an exotic and eventually hypnotic charge that is sure to make this one a summer anthem with the heads. 'EDIT18' closes down with a psychotic melange of trippy vocals that are layered up in ghostly, spectral waves over a paddy rhythm. Brilliantly unusual.

On Oath's latest, the imprint keeps the jazz-fuelled atmospheres going with 'Seven Dogs', an EP that serves up an astonishing excursion through deeply hypnotic melodies and idiosyncratic grooves, courtesy of an iconic link-up between Rteph88 aka Robin Taylor-Firth and Steve Cobby.

Taylor-Firth and Cobby are musicians whose careers are so richly storied, broad-ranging, and impactful that it's difficult to summarise their output and impact in so few words. Both Taylor-Firth and Cobby firmly established themselves in the 90s, being involved in some of the era's most prominent and celebrated groups and for releasing some truly era-defining records. As such, their discographies reach far and wide, from house and techno cuts through to downtempo, drum'n'bass and leftfield, there is little that is left uncovered, and this spirit remains with them both as they continue to explore the outer parameters of their sounds.

Taylor-Firth, a songwriter, arranger, and producer, is perhaps best known for his long association with Warp Records and its sublabel Nucleus, and for his work as a member of Nightmares on Wax, where his signature keyboard playing style became a staple of the group's legendary sound. Alongside this, he has hundreds of songwriting and arranging credits on a dizzying array of records, and was a member of house music group Anon and Pio Bo alongside Richard Barratt - to name but a few selected highlights of his extraordinary career. Cobby's career is distinguished by his multitude of releases under a variety of aliases, along with his helming of a number of imprints, including Pork Recordings and his most recent label Déclassé. Experimenting with a wide variety of genres and sounds, perhaps his best-known work was with the duo Fila Brazillia alongside Dave McSherry, who released a plethora of immersive and innovative records in the 90s and beyond.

'Seven Dogs' represents a shared passion, vision, and musicality, two languages borne of similar spaces but reaching through time, space, and existence in creating a richly veiled musical experience that draws from lifetimes spent within the nucleus of music's soul. The EP speaks of the present as such as the past and indeed future, hinting with motifs that feel right at home within sun-kissed skies and within the walls of the chill out rooms. 'Early Doors', the EP's opener, displays the core fundamentals of the unfolding experience, namely the intrinsic relationship between keys and drums and how they express tone and mood. The piano gently caresses, ethereally floating with space to grow, as the drums lightly swing into life, providing an engrossing and rhythmically diverse groove that nods as much as it dives. The title track lands next and leads with a more driving feel. Sonically, the track leads with an oozing bass sequence that worms through the mid range before retreating under an array of compelling piano chords. The drums once again provide a strong backbone, allowing the melodic elements up top to fully express themselves - in a myriad of ways, murmuring and clamouring all at once.

'Visiting Hobo' brings the groove down a few notches. Slightly sombre in its delivery, the piano and bass interchange above a sparse yet hard-hitting groove, with as much emphasis placed on the emptiness as on the melodically full sections. The piano has a certain tonality here, with the notes containing a large amount of textural reverb that helps the track feel alive, almost growing out of the speakers. Wrapping things up is 'Titled', which begins with the keys and an array of whimsical features. The drums allow themselves time to grow into being, but when they do, they simmer within an enriching melange. It's a fitting end to a record that abounds with sonic consideration, environmental and emotive feeling, where two technicians bring their best and serve up four tracks of such sublimeness and thoughtfulness. One to drift deep within, on those hot summer days….

Hopsydian are an Italian pop-metalcore outfit from Milan, formed in 2024, combining alluring and sacral atmospheres with modern metalcore power, alt-metal edge, and post-hardcore urgency.
Built on cinematic tension and explosive dynamics, their sound fuses dark, ritualistic undertones with sleek contemporary production and massive, chant-ready choruses
where beauty and brutality collide in equal measure.
The band was formed by vocalist Myles Idolo alongside guitarists Loris Ronchi and Nikolay Deliyski, later completed by bassist Roberto Vezi. The drummer remains anonymous. Their name--Hopsydian--comes from Hope and Obsidian, a ""magic rock"" symbolizing resilience, shadow, and rebirth, perfectly reflecting the duality at the heart of their music.
Hopsydian revolve around worship, love, obsession, sin, and the temptation of becoming God--balancing the holiness of gold with the black of transgression. Hopsydian balance modern heaviness with cinematic elegance--where intimate melodies and shimmering textures collide with crushing riffs and commanding rhythm sections. Their songs move like a ceremony: building atmosphere, sharpening emotion, and detonating into choruses designed to be shouted back from the crowd. Hopsydian explore the most dangerous forms of faith:
worship, love, obsession, sin, and the seduction of becoming God. Their narratives live in extremes:
desire framed as devotion, temptation disguised as salvation, and beauty that burns at the edges. It's an aesthetic of contrast: the holiness of gold set against the darkness that it can't fully conquer.
Benjamin Wilson from band Caskets helped the band develop their album artistic direction
Despite having released only six songs, Hopsydian have already proven their live impact. In 2025, they debuted on the Slam Dunk Italy main stage, sharing the bill with names such as LANDMVRKS, A Day To Remember, and Caskets, before going on to support Caskets in Milan shortly after. Momentum is building fast--and with a fanbase already demanding the next step, Hopsydian are poised to turn their growing catalogue into what it's meant to become: a fully-fledged era, and the tour that brings it to life.

Introducing the first unknown - untitled release to Kudos, a concept record label where the releases are previewed anonymously, with the artist info found in the record sleeve. quality of the music comes first.

M-EDITS is a vinyl-only edits series built for DJs who know. Anonymous cuts, stripped back and reworked with the dancefloor in mind. No names, no noise, just effective tools for the right moment.

2026 Repress

With one foot in the Mexican underground rock scene and the other one in the global tape trading circuit, Las Ánimas del Cuarto Obscuro found themselves in the middle of a crossroad after their first LP. México wasn´t the same country as when the band first started. Even though access to non-commercial music still was a difficult task in the late eighties, the fringes of culture had way more resources thanks to the stubbornness of certain anonymous heroes: dwellers of El Tianguis Cultural del Chopo, niche record stores, illegal underground parties and hosts of late night Mexican public radio shows.


Ubiquitous social unrest expressed itself in every way possible. The aftermaths of the 1985 earthquake weren’t the only matters on the table. Protests erupted after a rigged presidential election and a student strike hit Mexico’s biggest public university. This was just the tip of the iceberg of issues PRI’s perfect dictatorship was or wasn’t addressing. The clash of the authoritarian regime against new and fresh ideas.


If the first record was about the loneliness of self-destructive youth and it’s urban phantasmagories, LACO’s second LP dealt with change as the axis of human existence. Las Ánimas is just the beginning of the sonic metamorphosis Toño Sánchez went through until this very moment.
The departure of former bandmembers set a different approach towards more experimental and atmospheric sounds. As the project’s only member, Toño Sanchez took an alchemical trip aiming for more mysterious horizons.


Despite the fact that we can still find conventional dark pop and catchy songwriting, the record rests on sound landscapes closer to Jorge Reyes or Tuxedomoon and This Heat than the orthodox ways of so called post-punk, seasoned of course with the lack of music gear and the economic reality prevalent in Mexico of those convulsed times.


Las Ánimas is a goodbye letter to underground but not because the next move is the mainstream. Far away from it, it’s a farewell to traditional rock and a the first steps down into the depths. From now on, Toño Sánchez will dedicate his musical efforts to weirder sounds and scarcer audiences in the search of the arcane, possessed by a mania of constant change that infects the soul after crossing the black door’s threshold.

Consummate selector DJ Sundae returns to Efficient Space with Nothing Ever Was, an immaculate compendium of phantom independent melancholia spanning '60s/'70s village green folk, outsider shoegaze and new millennium domestic pop. Each recording an emotional exorcism, Sundae breathes oxygen into music that was barely there in its own time, made in quiet places and crawl spaces, shared only with a precious few via private presses, hobby labels and now-decaying CD-Rs.

Free of any prescribed epoch, continent, scene or rarity, Noughties homemade indie pop opens both sides with the 4-track wonders of The Motifs and Betelmire, unlinked contemporaries finding their place alongside Andrew Jay's Crazy Horse rust, the regional-garage adolescence of Pauline Scribner and the anaesthetised Mancunian guitar-poetry of the late Quigley.

The remaining coordinates zigzag between the UK and US. Folk wayfarers John Strang & Valentine Lewis Lloyd, Virgin Insanity, Kusudo & Worth and Penny Wager's spartan Garden of Eden acoustica find their mirror in Empress and Slumber's close-quarters indie pangs. Chicago power pop fixture Phil Angotti is caught at his most tender, while Teri Rini takes the final bow with her universe-stopping hotel lounge torch song.

A deeper, more personal exploration of Sky Girl's sentimental songwriting, Sundae found himself amassing a cache of tracks too undeniable to remain confined to his anonymous mixtapes for TTT, P.A.M. and Good Morning Tapes, or bi-monthly hour on NTS Radio. Again his emotional sorcery draws together an unlikely cast, their unwritten narrative assembled from fragmented memories of past lives left behind by future horse trainers, ketamine therapists and Fab Four cover band careerists.

With not a second squandered across 1LP, it took a village to bring this new companion into being, with David Bergot's forensic audio restoration, dreamlike imagery from Matthieu Crozier, Ivan Liechti's elegant design and a perceptive foreword by kindred spirit Jessica Pratt.

Following the release of Haunted House Party, Bradley Thomas Turner was contacted by the Cryptozoological Society of New York City to create music for their museum’s holiday exhibitions. As enigmatic as they are controversial, the secretive society gave the composer free rein to create music that celebrated their profane (and, according to their critics, pseudoscientific) explorations of the darker side of yuletide folklore. The endeavour was denounced by religious groups, the scientific community and even parts of the cryptozoological community as “blasphemous,” “irresponsible”, and “a dangerous topic to make light of” respectively. Not much is known about the pandemonium that broke out on the night of the opening reception, but one journalist (who has been granted anonymity by request) infiltrated the event and captured the recordings that follow. Death cult ritual? Mishandling of cursed artifacts? Elaborate practical joke? Publicity stunt? No one can (or will) say for sure as no person in attendance has been willing to speak on record. Therefore, we present these recordings so the general public can decide for themselves.

Melody As Truth and Future Days Radio present ‘At the Emerald Pool’, an album by Tomo Katsurada and Jonny Nash.

Netherlands-based artists Tomo Katsurada (Ex-Kikagaku Moyo / Future Days Radio) and Jonny Nash (Melody As Truth) combine forces for an exploration into the sonic potential of the guitar duo, rooted in their experiences performing together over the last 12 months.

Friends and admirers of each other’s work for a decade, their musical collaboration began in 2024 with Katsurada asking Nash to contribute guitar to his debut EP ‘Dream Of The Egg’. Sensing the need to explore this further, they spent the following year performing together in different configurations, with Nash joining Katsurada’s trio and Katsurada in turn playing with Nash as a duo, across a wide spectrum of spaces, from churches and temples to concert halls, theatres and outdoor festivals. With new ideas developing organically out of these performances, recording new material became the next logical step. A short period of three days was set aside with a clear goal: to capture the essence of their fluid, intertwining melodies and guitar playing in a way that felt as direct and unfiltered as possible. Working from a handful of pre-existing sketches, they left ample room for experimentation to unfold within the process.


The results are presented on ‘At The Emerald Pool’, a collection of ten pieces that offer the listener a full immersion into the pair’s sound. With guitar as the primary instrument for both artists, it is no surprise that the core of the album lies here, specifically in the fluid interplay between the two players. Layers of gentle, delay-soaked fingerpicking often make it almost impossible to distinguish where one player ends and the other begins. As soloists, both Katsurada and Nash have a gift for crafting melodic lines that feel open and ascending, expressive and hopeful without becoming saccharine. Longer, more abstract pieces are counterbalanced by a series of shorter songs, with five vocal tracks appearing across the album. The decision to share vocal duties lends the record a unique quality and a strong sense of variation, bringing a wide expressive range out of a deliberately focused musical framework.


‘At The Emerald Pool’ represents the first chapter in an ongoing musical dialogue, an attempt to capture a moment of connection, openness and discovery, laying the foundation for what continues to unfold.

STABLO presents it's new sub label STABLO-R, an imprint releasing anonymous unknown tracks from a time before.

It's time to dip into the secret vault once more, and after the first two visits this year, we can't wait. The latest from this mysterious and so far anonymous new label and production crew is another scorching disco two-tracker. The opener on the A-side is full of excitable horns and funky guitar lines with irresistible hand claps and tracky grooves that roll for days. On the flip-side, 'Track 2' brings a vocal line that is brings a sing-along and uplifting vibe as it rides on busy, funky bass motifs with lovely slide in the hi-hats and more lush strings. It's a big-hearted and fulsome disco-house sound for when the whole floor needs locking in to a loved-up vibe.

Kaveon launches on wax with an anonymous three-track transmission, drifting somewhere between the darker corners of minimal and the restless pulse of the UK underground. The A side moves patiently, carried by a deep, shadowy bassline, hazy pads, and groovy vocal fragments that give the track an almost cinematic tension. Turn the record over and the mood shifts gears - sharper, faster, and full of garage swing, with bouncing basslines, loose rhythms, and eccentric vocals bringing a playful edge to the floor.

Pirka Vinyl Cuts returns with a new chapter in its unknown edits series, featuring four anonymous cuts built strictly for the dancefloor.

From the rolling grooves of “KINR” and the raw energy of “Ruffneck”, to the sun-soaked swing of “Sun Goes Back” and the late night vibes of “Get Me Down”, the record delivers four funky house tools packed with classic samples, tight drums and peak-time flavor.

A no-nonsense DJ weapon designed for long blends, sweaty rooms and proper moments behind the decks. Limited vinyl release on Pirka Vinyl Cuts.

The anonymous Only Music Matters crew serve up another EP of smoking sounds for discerning crowds. It's the smart sampling of a classic motif from jazz-house great Saint Germain that makes the opener 'AAA001A' so enchanting as a bluesy vocal drifts in and out of a dry, dubby, minimal tech beat. 'BBB001B' is more driving and gritty, a clipped tech cut to keep things moving in the dead of night, then 'BBB002B' brings another supple groove, this time with rays of synth rising out of the mix like the morning sun. Quirky sound designs and a skipping rhythm make it irresistible.

The Gravitate label is back with a new drop from an artist who has chosen to remain anonymous. The EP is anything but, however: it's the sort of characterful garage, minimal and tech melange that is going to announce itself in any setting. 'Track 1' builds with layers of percussion and a rolling bassline that becomes more sleazy on 'Track 2' with retro stabs and soulful pads harking back to early US garage days. 'Track 3' is another gritty bumper with plenty of details that make it pop before the closer flips the vibe with a more wavy slice of comically inclined space tech for smooth late-night cruising.

UnOwn deepen the intrigue of their debut record with a second clutch of shadowy edits, again courtesy of the elusive Fava Luva and Dr. Professor. First up is the airy, mystical 'Sent Ra' which drifts on a Balearic current with an aquatic pulse and low-slung groove. It's for late-night moments on intimate floors and is hella steamy. Flip it and 'Love Giver' is more extroverted but just as sensual with teasing spoken words opening up before a swaggering, gentle groove and deft keyboard flourishes awaken and coalesce into a boogie-tinged delight. Anonymous in name, perhaps, but unmistakable in taste.

Daybreakers keep it rolling in 2026 after two essential Vick Lavender samplers, this time back east with some DATs from the Jersey boys “Raw Tunes” Little to nothing is known about those two. We will keep it that way and let the music do the talking.

Medlar sends us a less anonymous remix straight from the Cayman Islands too... Hard hitting deep house perfect for the peak time, What more do you expect from us at DAYBREAKERS?

Buy or cry.

The time has come for hip-hop’s favourite superheroes to unleash their highly anticipated album. The industry’s most recognisable voice, Chali 2na, and turntable wizard Krafty Kuts have been not-so-secretly preparing this project since 2017 through over 150 live shows and countless studio sessions. The time has finally come to grab your capes, don a pair of tights and load up the turntable ready for the show to begin. This is ‘Adventures Of A Reluctant Super Hero’ – prepare for the Purple Assassin and the Scratchman as they come and save your city, the scene and hip-hop as we know it.

Featuring a who’s-who of collabs and guest appearances from hip-hop royalty, this 14-track record takes you to just about every corner of the genre, leaving no stone unturned. With Lyrics Born and Gift Of Gab joining on ‘Guard The Fort’ to deliver a serious statement of intent to open the LP, the rest of the record is an adventure through funk, breaks, rolling basslines, buckets of groove and everything in-between. Throw in a generous portion of expertly delivered bars and vocals from genre sidekicks like Harry Shotta, Skye (Morcheeba), Omar, Dynamite MC and more, and you’re left with a hip-hop record that not even the comic books could have conceived.

LP version comes with an exclusive 8-page comic-book by official Star Wars illustrator JAKe + full album download.

Operating on the fringes of pure improv, organised chaos, minimal composition, lo-fi electronics and Italian spaghetti westerns, wide-eyed and with a healthy dose of DIY aesthetics lies the world of Jaan. It’s a poetic & cosmic universe, exploring “discreet music” whilst wandering on the edges of the Cat People soundtrack & Brian Eno’s more experimental output, in which you might yourself find floating, wandering or in the middle of a market place.

Jaan is a collective of one, a deliberately anonymous activistic unit with strong ties to the international art scene. Purposefully bypassing the know-it-all of the the internet & embracing the bygone mystery of dusty old archives and deep-dive searching, remarkably little is known about this project. Jaan is lead by veteran experimental sonic alchemist Jaan; they operate between Greenland, the Middle East and Europe, with frequent associates Lisqa, Mashid & Schneorr N. acting as local hubs for collaboration and exploration.

The purpose of this wilful obscurity: full focus on the actual music, whether live events or on recordings. Which brings us to Baghali, their first for World of Echo. It’s a deeply personal album, much like slowly browsing old family albums filled with vaguely remembered tales, some still very much present, some faded, leaving but a ghost-like reflection of what once was. Baghali was compiled over the course of a year on the road, trapped in snow storms, waiting for cancelled flights and stuck rides. It’s made up of snippets of diary, quick recordings on road sides, abandoned buildings, garden ruins, vast desert and focussed studio sessions, following a collage-like aesthetic and steeped in an exploration of non-lineair storytelling. There’s broken memories, a sense of displacement and an occasional yearning for what can’t be again, clouded in fever and unrest, but there is also hope, wonderment and bright colours seeping through the cracks in the wall. Jaan weaves home-made instruments, old tape loops, broken synths, beat-up reeds, dusty beat boxes and the occasional doom guitar squall into a tapestry of fractured sound, with tracks following their own inherent logic rather than following formats. Sounds crash in and out, field recordings placing the listener firmly in an environment then throwing several perspectives at once onto them, with individual elements - a wandering clarinet, a lone mandoline, a beat out of place yet perfectly in place - slowly walking in and out & doing their thing.

The whole album is alive, breathes, takes a wrong turn, gets lost, somehow finds its way again - effortless and with a unique sense of space and flow.

Baghali is released digitally and on vinyl in an edition of 300 on 3rd October 2025.

Mythology has a recurring theme: creating ambiguity by rearranging worlds and creatures that normally don’t belong together. Centaurs, Minotaurs, Hydras and so on: mockery and mystery intertwine into entities that are in equal parts magnificent and ridiculous. Referencing this idea in the present, Loris S. Sarid conjures 12 compositions simultaneously showing traits of dreamlike trap, candy-flavoured New Age and Spoken Word. The lines between spiritual and mundane, drama and parody are bent and questioned, used as raw material and treated with the same importance. Binding the work together is the sense of feeling peacefully lost inside a shuffling iPod, buried in a quiet zen garden inside a noisy shopping mall or vice versa. What connects Ambient music, which often anonymously swims into endless sleeping playlists with monthly subscriptions to well-being, to the mainstream output of commercial music? "Ambient $" doesn’t explore the social aspect of this question, but rather celebrates the beauty of its paradoxes. This album is the morning choir of forgotten NFTs, brewing lyrics in their binary exile. The television homily of a wrestler turned priest, turned influencer chef, then hermit and then rapper. Randomness is reclaimed as a human quality, and the aesthetics of mass music consumption are repurposed into a rather inexpensive guide to streaming-service-enlightenment.

What once slipped out under a veil of anonymity now steps into the light: the original mystery record was, in fact, Tuff City Kids. The duo’s playful fingerprints are all over it— equal parts homage and mischief.
Fast forward to today, and the circle closes with an EP that reimagines the spirit of that covert release, pushing it into sharper, modern focus. Where the first outing thrived on secrecy, this one thrives on revelation—same DNA, but recut for the present tense.

Founded in early 1995, Grow! quickly established itself as a key player in the underground house music scene. The label was created by Christian Mahringer (aka Jeremiah) along with Michael Peter (Duke) and Martin Retschitzegger (Tin). Together, they released a steady stream of 12" records, often under various pseudonyms, focusing entirely on the music rather than individual profiles.

While Grow! remained their main creative outlet, the founders were also active beyond the label: Mahringer released music on Chez Damier’s Balance Alliance and the renowned Chicago label Guidance, while Peter and Retschitzegger collaborated on records for Daniel Bell’s 7th City and Robert Hood’s influential M-Plant label, and also launched their own imprint, Central.

This new compilation presents a first carefully curated selection of the most notable tracks from the label’s catalog, alongside previously unreleased versions. All tracks were edited and remastered from the original tape recordings. It offers a deep dive into the raw, analog-driven sound that defined Grow!’s identity.

With its consistent focus on quality, anonymity, and artistic integrity, Grow! Records has left a lasting impression far beyond Austria’s borders. This release is both a celebration and a rediscovery of one of the country’s most respected underground imprints.

After two albums inspired by vast northern landscapes, the forces of nature, and an ever-present sense of duality, Glass Museum shifts gears. The Brussels-based group-originally formed in 2016 by pianist Antoine Flipo and drummer Martin Grégoire-welcomes bassist Issam Labbene as an official third member, opening up a richer, more immersive sound and setting its sights on the rhythms of the modern city.

A true turning point in Glass Museum's career, the new album 4N4LOG CITY twists the codes of electronic music, explores the depths of jazz, and asserts its eclecticism through a fresh and infectious groove.

Signed to the forward-thinking Belgian label Sdban Records, the group shapes its identity within the vaulted ceilings of Volta, a creative hub in Brussels frequented by the vanguard of Belgium's "new scene." Sharing space with acts like ECHT!, Lander & Adriaan, and Tukan, the band continues to push its boundaries through collaboration and reinvention.

Recorded between the French countryside of Drôme, the industrial edges of Brussels, and Volta, 4N4LOG CITY features striking guest appearances. Swiss drummer Arthur Hnatek-known for his work with Tigran Hamasyan and Erik Truffaz, and praised by Gilles Peterson and Laurent Garnier-drives the opener "GATE 1" into hypnotic, krautrock-inspired territory. Meanwhile, rising vocalist JDS lends soulful grace to "Call Me Names", evoking the emotive textures and elegance of vintage soul-jazz reminiscent of the likes of Jordan Rakei or Tom Misch & Yussef Dayes.

Without abandoning their melodic roots and foundational approach, the trio takes daring steps into new terrain. The experimental centerpiece "III" explores the piano as a textural and rhythmic force, drifting between ambient and breakbeat. Elsewhere, the gritty "VAN GLAS"-a hip-hop-tinged track featuring rapper JAZZ BRAK of STIKSTOF-the band ventures far beyond their comfort zone, injecting streetwise lyricism in their mix of electronics and jazz.

Fueled by the heartbeat of the city, 4N4LOG CITY captures the mechanical ebb and flow beneath concrete towers-the anonymous rhythms of daily life moving over the asphalt, and the fleeting, meaningful connections made along the way. Produced by Antoine Flipo and mixed by Elsa Grelot (Avalanche Kaito), the album stands at the intersection of human emotion and urban architecture-a post-modern, deeply cinematic work that asserts Glass Museum's place at the cutting edge of European music.

Fradinho (Rui Fradinho) is Lisbon born Portuguese, having lived in London for 12 years and returning to Portugal in 2020.

Rui's musical base stems from a diverse range of music: rock to pop, house to techno, through jazz, soul, funk, world music, hip hop, drum and bass and from breakbeat to his main passion and current music production focus, broken beat / bruk / nu jazz.

Rui runs his own record label, Eclectic Beats Music, with 6 vinyl releases, and has released remixes for artists like Sentinel793 (Universal Magnetic), Deborah Jordan (Futuristica Music), Str4ta (Colin Curtis Presents), David Borsu (Broadcite) amongst other artists and labels.

Highlights of his DJ career so far (other than his 6-year residency at Sociedade Anonima), are the Bicaense Cafe and Lux club in Lisbon. Earlier in 2017, he did a stint on London’s Back2BackFM, playing at Dalston’s Club Makossa, the BBE Store in East London, closing the Chill Out Gardens stage in Portugal’s Boom Festival 2018, DJ’ed at Gilles Peterson’s first edition of We Out Here festival in 2019, played Lisb-On festival in 2022 and currently guests at Birmingham’s BrukUp broken beat night (having played there 5 times with Adam Rock, Laura Crossley, Bruk Boogie Kru, Marcia Carr & Kwai and Yoofee).

"It all originates from a state between dream and reality - a drunkenness. Each title alludes to something blurry, abstract, or even unfinished. The next day, you wake up and don't know if what you did was or simply wasn't. A distinctive endeavor with a somewhat lo-fi filter, featuring ambient touches, experimental dub elements, and holistically defined as avant-garde."

New identity for new music, Bastien is part of anonymous Barcelona. And little more can be said about him.

Four Flies is thrilled to present the very first release of Gianfranco Reverberi's hidden masterpiece: a mind-blowing soundtrack, possibly his wildest and most daring. This Italian score is sort of a Holy Grail for fans of the spaghetti sound, especially thanks to the legendary track "Psicolimite".


In 1973, a mysterious 45 rpm single surfaced under the name 'Sharon Chatam e la sua Orchestra.' The single seemed to be a harmless cover of the theme from Last Tango in Paris, complete with a typical image from the film. But behind the innocent facade, a secret was hidden: the B-side track, "Psicolimite," was actually the main theme from Rivelazioni. When someone in the United States figured this out and realized the 'Sharon Chatam' moniker was a pseudonym for Reverberi and his team, the price of the record skyrocketed, making it a coveted collectible.


This makes the discovery of the full soundtrack even more exciting, considering that the music Reverberi composed for the infamous film by Renato Polselli - one of the most outrageous and uncompromising Italian genre cinema directors - was thought to be lost forever, perhaps vanished into the depths of some film processing lab. But thanks to the sleuths at Four Flies, this enigmatic masterpiece has been resurrected and presented in all its glory. It's available now as a luxurious gatefold double LP with original artwork by the brilliant Eric Adrian Lee.


While the film, despite some critics praising it as "psychotronic," is a bizarre mishmash of rambling pseudo-psychoanalytic theories and sexual deviance voyeurism, the music stands out as a foremost, vital element, able to exist on its own.


Reverberi's reputation as a serious, refined producer (for artists like Lucio Dalla, Gino Paoli, Luigi Tenco, and many more), however, led him to keep his distance from exploitation films like Rivelazioni. To maintain his image, he had his friend and former schoolmate Umberto Cannone take credit for the score – a tactic he also used for Polselli's next film, Mania (1974).


But this anonymity might have unexpectedly increased his creative freedom, for the score he put together and recorded is experimental, at times raw, and driven by a relentless rhythm section where bass and drums lay down the groove. The use of electronic instruments is impressive for the time, with drum machines and spacey synths creating a dark and dreamlike atmosphere. Psychedelic flutes, piano phrases, crazed percussion, filters, compressors, and jazzy improvisations on sax and vibraphone complete the mix.


The full soundtrack was recovered following the discovery of the original 1-inch, 16-track tapes, which were transferred, mixed, and mastered for optimal listening on both vinyl and digitally, with the digital version featuring 8 bonus tracks.


Available from November 22!

When SW. AKA, Stefan Wust, first established SUED in 2011, their compelling, cosmic and anonymous material struck a rare chord, emanating far beyond the freeform Berlin underground in which it was written. Unknowingly, Los Angelean Oliver Bristow had
established a parallel musical universe, founding the hyper-specific label Acid Test, inviting pioneering artists such as Donato Dozzy, Tin Man and Pepe Bradock to indulge in glorious interpretations of 303 control. Without compromise, these were records that quietly
reinvigorated electronic music.
Some years later, a new label, SWOB, unites Wust and Bristow in a very different landscape. And while it would be easy to transform the purity and integrity of this special alchemy into something like nostalgia, yearning for an alternative culture before
influencers and against algorithms, SWOB endeavours to find inspiration in arguably tougher truths.
“By the mid-90s, the techno scene had already reached a breaking point”, recalls Wust.
“Today, the scene is so highly professionalized that it barely resembles what was once called the "underground. But "underground" was never more than the simple reality that music circulated on cassettes among friends or that dubplates were played at illegal
parties... The consequence of today’s professionalization is the death of the original movement.”
Still, no one can kill an idea. Here, inspired by the “Outside Tekno” or “Outkast Techno” that emerged to subvert even back in the day, SWOB are proud to introduce the tekkNOthing trilogy, a new project from SW. beginning on cassette and culminating later
on vinyl. Some years in development, tekkNOthing first began to take shape during the 2020 global pandemic, when ‘the underground’ quickly began to mean something radically different once again.
“I noticed how everything was accelerating while simultaneously spinning in circles – existing in a kind of creative limbo on a global scale”, recalls Wust. “And that’s where true freedom lies: for artists – in any sense – to consciously engage with this necessity. In
other words, irrationality or nonsense can eventually generate meaning.” While hardly capitulating to the contemporary hammering of techno’s most recent developments, tekkNOthing’s first chapter quickly establishes a frenetic pace; tracks like ‘nuclearFALLoutX’ and ‘paslolESmess’ interlock and unfold at a tempo removed from that typically associated with SW. while ‘euroBSS’ and ‘viscousHEAT’ successfully experiment with a more guttural palette, veering far into a rejuvenating and previously uncharted leftfield.
A resolutely human endeavour, the music of SW. is nonetheless written and recorded in the looming shadow of AI, whose free-form adoption of pop culture, hip-hop and techno reminds Wust of “when photography emerged in the 19th century... painting was no
longer bound to naturalism. Similarly, music today is no longer bound to fixed standards – through AI, it can become truly free.”
If not in competition, than taking inspiration from this landscape of new opportunity, tekkNOthing diversifies further with eight unpredictable tracks across part II, taking in stuttering machine-funk on ‘crAMPDUNK’, a freeform organ jam via ‘sonicENdo’ and the
inexplicable piston-percussive, post-punk exotica heard on ‘poorTENOOR#a#01’ DJs with dual cassette decks skills might even find function in the more overtly floor-focused ‘DU ¨NEhowSE#1takeÄ’ or ‘lookLOOK’.
The times may have changed, but the promise remains simple; more music, more freedom.

DIG CURATED the infamous four of this EP in an omnivorous fashion, allowing vinyl wizard Louis the 4th to take us on a ride of stylistic adventure between old and new-school techno wickedry.

Olivia Mendez (the curator behind this EP) picked these gems according to the way she would build her sets; each track corresponding to a distinct part of a blazing journey. Each track being a different color on a powerful, vibrant palette, attesting to the versatility of an artist whose emblem is anonymity - remember Detroit? - and reinvention. The man behind the bandana doesn't shy away from paying homage to the old school while at times enveloping us into a computerized sound chaos - classy as it is.

This selection reveals a side of LTF that hasn't been shown before, catching the ears of a great number of peeps, who could easily find their match here.

"Dilatation" is a chugging techno zinger, with a groove that feels minimal yet keeps expanding through punctured breaks and urging synth enveloped into a sustained air- a kind of tool that mounts the energy to near combustible.

"Almost There" decompresses space into a light-weight, energy saver atmosphere, that fleshes out a brand-new compartment in LTF`s music wallet. Threaded through driving rides and a rhythmic zeal, it wobbles gently between sustain and release.

On the flip side, "Kurrikulum Vitae" flexes LTS mechanics, with rascal shifts in a groove that feels simultaneously ancient and totally new, amassing a depth of textures and tones towards a skanking peak.

"999" seals the deal with multilayered distortions enveloped into ghostly undertones and reverbing crunches, half-step of being a techno-artefact and a dazzling sound puzzle, made of a loopy melody edging towards poise.

Words by __ORSHI

he initial seed for this project was planted in 2020 when Nicolás Jaar wrote the song “Piedras” for a concert at the Museum of Memory & Human Rights in Santiago, Chile, which commemorates the victims of human rights violations during the military dictatorship led by Augusto Pinochet between 1973 and 1990. Between 2022-2023 it took on a new form as a radio play entitled 'Archivos de Radio Piedras', which was shared on a dedicated Telegram channel. In 2024, the play was converted into a 24 channel installation at the University Museum of Mexico City (MUAC), where it was exhibited for 5 months.

Piedras 1 and 2 is a collection of the tracks featured within the play, all new music by Jaar, but partly presented within the play as the music of Salinas Hasbún (the name a composite homage to Jaar's grandmothers, Graciela Salinas and Miriam Hasbún).

The play follows two friends mourning the disappearance of Salinas Hasbún, a musician and writer who vanished in the early 2020s. Although they live in a future where technology is advanced, they
resort to DIY radio methods because the anonymous group “Las 0cho” has launched a worldwide attack on undersea internet cables, causing a global internet blackout.

The play's central theme revolves around the idea that truths, memories and identities speak from the cracks (“rasgaduras”), or the "in-between" spaces ("en el entre"). This concept is supported by the
way much of the narration unfolds - in the liminal spaces between radio frequencies. The instability and transitory nature of a constantly shifting radio dial becomes not just a metaphor but the structure of the play itself. It’s in these moments of noise, static and interference that the deeper revelations of the story emerge. This disjointed, ever-changing medium mirrors the way memory and trauma operate within the play - non-linear, slipping through the gaps, found in fragments or ordinary moments, rather than direct transmissions of “official” historical accounts.

This notion reaches its climax at the end of the narrative, when a text is discovered in which Salinas speaks of finding a new number in a small pond in a cave mentioned in the first episodes of the radio play. This pond, inside the “cochlea of the world”, is seen as a way to introduce real-life randomness to computation. Embodied in the salt lakes of northern Chile, home to the world’s oldest bacteria, this randomness disrupts the rigid order of binary code, paving the way for a transformation of digital life.

First solo release by Nicolás Jaar since 2020’s Telas and Cenizas.

Nitechord is an anonymous "ambient-tech duo" that impresses with this fine debut, Lume, which is a meditative exploration of the calmness and mystery of the night as distilled through mid-tempo rhythms and atmospheric whispers. These sounds were first submitted as a raw, uncredited cassette demo in 2002 and have hardly been changed from that state but for the mastering. Tracks like 'Reflect' and 'Near' blend shimmering guitar loops, sub-bass and subtle twangs over dancefloor beats. 'Dim' breathes with layered drones, while 'Absent' offers mournful serenity and last but not least, 'Carry' blossoms into orchestral harmony. A sublime soundscape.

Previously unreleased techno from the 1990s and 2000s. Tape archives of renowned producers unveiled anonymously on a new vinyl only label Kilotoni. Minimal acid techno and hard techno with funkier Detroit influences on the flip side.

Ulterior Motives launch their main label with a single from DJ Persuasion, featuring a Liftin’ Spirits remix from Ant Miles. The label, which is helmed by DJ and producer Noah Tucker, began life in 2021 with an anonymous edit of a much-loved underground hip hop gem. Two further 12”s in the white label series followed along similar lines, joining the dots between jungle, footwork and r’n’b in UM style. Since then, they have also launched their cassette series with a Metrist mix covering golden era tech step and d’n’b.

DJ Persuasion is principally known for A History Of Hardcore, a series of ten mixes covering ’88-’98 which appeared across a number of platforms between 2015 and 2020. Certain entries in the series appeared on cassette via The Trilogy Tapes, Blackest Ever Black (Id Mud) and Tape Echo. Persuasion also hosted the NTS Demon Poetry show (now the Drum Poetry show) for some years, and contributed In Focus sessions covering the work of Dillinja and LTJ Bukem, alongside Dev:Null.

Jameela EP covers four contrasting, but also concentric areas of the hardcore continuum, featuring a remix from Liftin’ Spirits aka Ant Miles of Origin Unknown. The title track rolls out at bleeding edge jungle hardcore tempo, taking in a mixture of familiar and unfamiliar references. Liftin’ Spirits contributes a standout remix which reframes Jameela as a drum’n’bass epic, opening with a panoramic intro and a quaking bass drop, then building to soaring strings. Robin Gets Revenge is an audial intervention into one of the last remaining unsolved mysteries in acid house, and a stomping 89’-’90 style jammer to boot. The B2 finds Jameela in a slower guise, offering something for after the club and the warm up.

The Blessed Madonna began with three magic words, scrawled in shoe polish on a broken - down box and hung on the wall at a small sweaty party: We Still Believe. “I think you have to give up completely to really understand what hope is. It was like 2011? I had spectacularly, monumentally failed. I left the label. I wasn’t DJing. I wasn’t putting out records. I was divorced and living on my Dad’s couch so naturally my friends and I decided to throw an illegal rave. We didn’t have any decorations, so I took a box and wrote, ‘We Still Believe’ on it. I needed to believe that something better was possible and that’s how it all started.” After years of $50 gigs, strung together by gas money and surfed couches, The Blessed Madonna cemented her reputation as a sublime technician behind the decks with a legacy of fluent and dynamic sets, spanning from disco to techno to house and back. One room sweatboxes, circus tents, theatres, massive festival stages and entire city blocks have all served as the canvas for her shows. After a jam packed 2023, from Glastonbury to Sonar to Boiler Room Bali, The Blessed Madonna has been filling the dance floor everywhere she goes and is now releasing her debut album.