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Acclaimed producer, DJ, and dancefloor healer Octo Octa (Maya Bouldry-Morrison) announces her fourth full-length album, Sigils For Survival. Following 2013's Between Two Selves, 2017's Where Are We Going?, and 2019's Resonant Body, the new record marks a decade since Maya publicly came out as transgender in November 2015. ''As an autobiographical artist, I set out to write an album that would be a milestone for this past decade of joy and sorrow,'' Maya explains. ''Sigils For Survival is my attempt to encapsulate the intentions and techniques that I used to move through life into a spell.'' For each of the record's eight tracks, Maya drew a sigil. Each is a personal symbol intended to ''bind magic to the song and seal its intention.'' These drawings appear throughout the physical edition's design. Maya's sister, New York artist Hope Morrison, incorporated each sigil into her original paintings, which comprise the album's vivid artwork. Hope Morrison, whose imagery translates the sigils' energy into vivid form; the layout was designed by Jo?o Ervedosa. Created entirely on hardware instruments and later mixed in Logic, Sigils For Survival captures the tactile immediacy of live performance. Maya preserved the feel of MIDI-clock drift and off-grid recording, letting her machines interact in the rhythmic pocket, rather than confirming them to a click. Alongside her signature deep, ecstatic electronics, the album features hand-played dulcimer, hand-pan, and recorder. Her voice also returns, carrying spells of love, protection, and transformation. Across Sigils For Survival, Octo Octa channels the ecstatic house lineage into an intimate ritual space. The music speaks of immediacy, play, and communion -- of magic as method, love as survival, and sound as spellcraft. Sigils For Survival is both a document of ten years lived fully and an invocation for the next chapter -- a glowing testament to music's power to protect, transform, and set the spirit free.

Official reissue of a German under-the-radar disco tune. The original from 1979 is a bubbling dancefloor stomper with freewheeling synth lines. For the flipside of this 7" Korkut Elbay created a spaced out balearic dub rework. Picture sleeve with a funky painting by Holger Kurt Jäger that picks up on the original.

The melody of 'Butterfly Dance' came to Dieter Bührig's mind as a butterfly floated through the recording studio during a session break. The resulting track landed on a compilation with mostly cover versions of disco hits. Now, more than 45 years later, the tune found its well-deserved single release on funkscapes.

Korkut Elbay is a fixture of Cologne's electronic music scene for over 20 years. He's part of the Cómeme camp and with remixes and edits for labels like Permanent Vacation or funkscapes he prooves his sensitive feel for the dancefloor. So does he on this rework, giving the orginal space to breathe and calm down without leaving the dancefloor.

Dieter Bührig studied electrical engineering and sound recording in Berlin. Afterwards he worked several years as a sound engineer for the music industry and as a producer. Later on he worked as a teacher for physics and music, trained trainee teachers for secondary schools and wrote articles and publications on musical education, choir and band arrangements. Nowadays he's writing, among other things, musical crime stories.

"Disco Chimi" by Dominican-raised Cuban artist Charles is the second release on Coco Maria's newly found Club Coco label. Comes with 4 paged insert with liner notes and art.

Charlie Chimi — the alter ego of Charles Garmendia — is a globe-trotting, kaleidoscopic creator best known for La China de la Gasolina. A percussionist for legendary Zamrock band WITCH, L’Eclair, and other international acts, Charlie moves fluidly between roles as a live performer, studio musician, and visual artist.

Like the iconic Dominican street burger it’s named after, the Charlie Chimi project is a spicy mélange of Afro-Cuban rhythms, funk-driven basslines, and playful, inventive wordplay — touching on everyday rituals like making lunch, as well as the trickier themes of illusion, hustle, and deception in the animal (and human) world.

Charlie has assembled an international crew of “Chimis” to help him run the numbers, delivering a dizzying, theatrical live show that feels like peeking into the hazy back room of a bodega: old men slamming dominoes, bachata blasting, and a cosmic sandwich opening a wormhole to somewhere far stranger.

Tip on sleeve.

Latin Grammy-Winning Producer Pupillo Unites Global
Artists on his new album

Co-produced by Mario Caldato Jr. (Beastie Boys), featuring collaborations with Rodrigo
Amarante, Carminho, Adrian Younge, Gaslamp Killer, Cut Chemist, Hervé Salters, and more
Drummer, percussionist and producer Pupillo, one of the most influential figures in Brazilian
music and a four-time Latin Grammy winner, releases his first original album through the Los
Angeles–based label Amor in Sound. The record brings together an impressive and diverse
group of collaborators from Brazil and abroad. Amor in Sound is run by Samantha Caldato,
the project’s executive producer and creative director, and Mario Caldato Jr. (Beastie Boys),
who co-produced the album alongside Pupillo. The project was developed in a free,
experimental environment, allowing the artist to explore the many rhythmic and sonic
territories that have shaped his career — from Northeastern Brazilian traditions to jazz, hip
hop, and cinematic soundscapes. Listen here.

The album features special appearances by Brazilian artists such as Céu, Rodrigo Amarante,
Agnes Nunes, Amaro Freitas, Davi Moraes, Alberto Continentino and Pedro Martins,
alongside a strong roster of international collaborators, including Carminho, Gaslamp Killer,
Loren Oden, Adrian Younge, Cut Chemist and Hervé Salters (known for his work with
General Elektriks). The album’s 12 tracks were further enriched by contributions from
Jeremy Gustin, Roberto Schilling, and other musicians who make Amor in Sound Studios in
Los Angeles a place of creative exchange.

Beyond his work as the drummer of Nação Zumbi, Pupillo has built a prolific career as a
producer and collaborator with some of the most important names in Brazilian music,
including Gal Costa, Nando Reis, Erasmo Carlos, Céu, and Otto, helping to shape the sound
of multiple generations. This trajectory has earned him four Latin Grammy Awards.
From Pernambuco, Pupillo is also an acclaimed composer for cinema, having written
soundtracks for films such as Arido Movie and Blue Blood (directed by Lirio Ferreira), The
Assailant (directed by João Daniel Tikhomiroff), among others. This cinematic sensibility
permeates the album, which unfolds like a film, moving through richly textured soundscapes
that cross continents and musical traditions.

Six tracks. Six undeniable hits. Science can't explain it.

Four dazzling pdqb originals: pop-infused disco house transmissions where retro dreams collide with absurdly modern groove technology and hyper-modern circuitry. Hooks everywhere. Basslines that flirt shamelessly with eternity. Rhythms that know exactly what they're doing.
And then Roman Flügel arrives at the party. With two remixes of such dubby, technoid magnificence that they bend the laws of physics wherever they're played.
The cover? Pure gold. A radiant golden surface punctured by bullet marks - courtesy of world-renowned artist Maurizio Cattelan. When the music hits this hard, the artwork should too.
And the vinyl itself is no less extravagant: it reveals a dramatic close-up of the Direct Hit - a colossal crater surrounded by smoky burn marks, gleaming like a tiny golden monument to impeccable taste.
A small but undeniable upgrade to the cultural history of planet Earth. Play loud. Repeat often. History will thank you.

P.S. Real-world violence is neither glamorous nor welcome - this record stands firmly for peace, joy, and the radical idea that the only explosions worth having happen on dancefloors.

Format C: comes just on time to say No Passaran.

BIG UP !!

Massage Brain Cult returns with its second Various Artists compilation, available on vinyl and digital. Featuring tracks from p1nkf1re, Lini, Uf0, Lee, Mause, AZARYC and a djtool by Suso Flores. The release offers a fresh sonic flavor—staying true to the label’s reputation for diversity.

Sergeant ventures deeper into the chaos, occasionally emerging with something dangerously close to catchiness.

Symbols further explores the technique the band calls “dj-shadow-in-reverse”. Instead of digging for samples, they dig through themselves. Things are cut apart and glued back together: kraut drums, plunderphonics fragments, dance floor killers and dub chambers. This time, the wreckage has rhythm and the rhythm has an opinion. Ferre sings through the songs like he’s looking for an exit and having a great time not finding it. Somewhere in there, a flute appears: it sounds slightly worried about the bassline. But the band is more in charge of its plot than ever before. Sergeant finds bliss in losing it over and over again.

Superb 4 tracker with a nice french speech on the drop the Akouphen tune ^^
Then goes 3 mental Eletro Acid Tribe kind of... Very Balistik style... Notice that FreePoui sounds a bit like good old school sound as if it was a meeting between Crystal and Dee and Noisebuilder ^^

Superb 4 tracker with a nice french speech on the drop the Akouphen tune ^^
Then goes 3 mental Eletro Acid Tribe kind of... Very Balistik style... Notice that FreePoui sounds a bit like good old school sound as if it was a meeting between Crystal and Dee and Noisebuilder ^^

This new Mysteries drop is pure Mental Neo Hard Trance! Bringing you 4 producers that at the moment are pushing their own style thereby referencing oldschool HardTrance and PsyTrance - in a good way minus the cringy cheese. Gateway tunnel vision stuff, mental in the true sense.
A: Eat Your Mind & L'Enfant D'La Plèbe – Up Into The Ether, 33 rpm; Pulse 160
A 15 Minute epic journey into the upper spheres of the ether with a superb break and a completely new track beginning, screams of ecstasy guaranteed. Sublime!
B1: Neurotribe – Thetra 6:41 Pulse 165
A driver to push the crowd forward, pure dancefloor energy! Stripped down for efficiency the track is building the tension and ascending the stairway to full Noom. Commander Tom would approve.
B2: Pneumatix – The Return Of Mich 7:05 Pulse 170
A driving minimal workout, heavily tinted with Psytrance swirls. Focusing on a few outstanding sound sculptures, bringing them to the front, holographic and vivid. A finely calibrated system will drive the audience crazy. Be careful with the minds of other people, license required.
12“ Vinyl release is limited to 300 copies, includes digi-codes and comes in a unique full cover artwork with 2 sided inlay /poster and sticker by Darkam and TDSiGNZ,
Mastering Stefan ZMK. Transparent blue vinyl.
Mastering: Stefan ZMK
Artwork: Darkam

For Metro Beirut’s latest release, Cem Mo steps forward with his debut vinyl EP, a record that bridges the roots of Chicago and Detroit house with his own deep and textured approach to groove.

Born in Ankara and having taken piano lessons at an early age, Cem drifted from classical into jazz, re-teaching himself harmony and improvisation before finding his way into production. After moving to Amsterdam in 2016, the city’s community and music scene expanded his horizon, shaping a sound that treats producing like improvising, with curiosity for grain, color, and repetition, where subtle shifts make all the difference. Along the way, Cem has released on Handy Records and Rhythm Section, while his project Nowhere People has appeared on Artisjok Records.

This EP brings together a tight circle of artists who deepen its character. Saxophonist Moritz Schuster, known for his work across electronic music and past work with Cem and Malik Kassim, formerly known as Retromigration, delivers a striking, free-flowing performance charged with raw intensity. On “The Hard Way”, Franco Corica joins Cem for a deep, soulful, jazz-leaning moment that feels both reflective and quietly defiant. Finally, longtime friend Malik pulls up with a dancefloor remix that preserves Cem’s melodic sensibility while adding his own loose, resulting in a circular dialogue between two artists who’ve grown side by side.

Artwork: Shahd Issa

Frits Wentink’s Bobby Donny returns for the sixth various artist 12” vinyl release in the Ace Series. This all killer no filler release kicks off with two heavyweight cuts from Frits and Malin Genie before Wim Waldo closes out the A side. On the flip we welcome two new artists, up first Quinn Davis followed by two tracks by Fabian Feld. Six heavy heaters for house fans of the deeper persuasion. Another essential release from Bobby Donny!

'We Fell In Turn' is the solo debut from Brooklyn-based trombonist, composer, and quartet leader Kalia Vandever. Vandever, who plays with Harry Styles and Japanese Breakfast, “sculpts her trombone’s golden tones into dazzling compositions” (Pitchfork), writing music that tends to “dip you into a feeling or a pattern or a breathing speed, and keep you there” (The New York Times). In 2022, Vandever released Regrowth, an album that “features the ecstatic, brilliant melodies that have become Vandever’s signature sound” (Bandcamp). This spring, Vandever brings contemplative reflection to We Fell in Turn, a brave and understated work from an ascending voice in American jazz.

Recorded over three days in upstate New York, 'We Fell In Turn' is improvisational — a stark palate of solo trombone, voice, effects, and little more. “My solo process has always been heavily rooted in improvisation,” says Vandever. “I wanted the process to feel similar to the way I perform. Lee Meadvin, who engineered and produced the album, had a heavy hand in the creative process as well. He would dictate prompts before I started improvising and those pieces ended up shaping a lot of the imagery that comes up throughout the record.”

Connecting the dots between Jeff Parker’s 'Forfolks', and early releases from Grouper, 'We Fell In Turn' is a study of space and patience, embracing vulnerability in its sparse adornment. At times, the album is reminiscent of Patrick Shiroishi’s 'Hidemi', both in its familial inspiration and solo instrument study, while sharing the ineffable feel of William Basinski’s 'The Disintegration Loops' — the traces of her trombone folding in on themselves in an organic loop. Emotionally generous throughout, Vandever acts as a torchbearer for jazz’s historical yearning for connection.

On 'We Fell in Turn' Vandever draws inspiration from childhood memories — events that shaped her approach to love, community, and partnership, and her maternal homeland of Hawaii. “We were exploring childhood memories, earliest experiences with disappointment and pain, and my Hawaiian roots,” says Vandever. “We Fell In Turn came after I titled the track "We Wept In Turn". Both come from the intangible feeling of waking up from vivid dreams, particularly the experience of falling right before waking up or waking up in tears.”

Through this exploration into her heritage, Vandever also found guidance. “In Hawaiian mythology, ‘aumākua are known as ancestral spiritual guides that manifest in different forms, whether physical or intangible,” says Vandever. “My ‘aumākua visits me in my dreams, usually with a reassuring hug or a reminder of my past. Memories and early experiences seem to escape me, but find their way back in dreams.” And now they’ve found their way into 'We Fell in Turn', Kalia Vandever’s stunning solo debut.

Four cuts of grimey, creepshow, noir tech and jackin Chicago House by Fugitive Artifact, NYC-via-Atlanta artist behind the Headcrack party. Not a rehash or revival, but still full of respect for the founders of jack (also John Carpenter!). At times on the A-side, these tracks are psychedelic…driving bass lines over syncopated claps and rimshots with building, atmospheric swells inviting you to tumble down the manhole into a world of insomniac crime bosses and bleary eyed pleasures. The B side opens with a more techno tempo, but keeps the swirling percussion cooking. The record ends with an ominous daybreaker. You can hear the arrival of a grey dawn. An invitation to join the freaks in the gutter. Will you heed the call and join the ranks?!

2026 Repress

The undisputed star of 2021, Sweely has provided 4 staples from his inimitable live set, now in DJ-ready form.

The second chapter from Alfabet Records unfolds in two movements: Bread&Butter and Jay Tripwire — a dialogue between emerging form and decades of refinement, where minimal structures drift through groove and time.

“Estonian cultural theoretic Tõnis Kahu once said that Black Metal is men seeking for masculinity while their bodies lack the capacity to catch up and are lagging behind. In the age of microplastics and low-testosterone, Tapetud Rott is asking for ancestral guidance from George Michael. Each day with the growing pains of maturity they can only dream about living somewhere so happy-go-lucky and tranquill as the city that once provided the suitable breeding ground for giving birth to such an agressive and theatrical expression that could mark its cadaverous polar opposite. The mask they now so falsely wear is one seeking for Vitamin D inside the heart of a deceased Rat.”

Limited Black 7-inch Vinyl

Music by Robert Nikolajev & Mikk Madisson
Recorded in Tallinn

Mastered By The Bastard

The fifth installment in Roots Run Deep comes from the album, No Happiness Without Sadness. “Run Dem Mouth” was originally released in 2023 on Ruff Neck Records / Ruff Neck HiFi.

The vinyl release includes the version on the B side.

Roots Run Deep is a sub-label by Aloha Got Soul featuring reggae music from Hawaii.

Flashcore & Speedcore – Serygraphied sleeves – 300 limited & numbered.

with 2 tunes from NO-TEK 20.

"K8A a.k.a. Kaethe Hostetter is a New York–based violinist. composer, and bandleader, whose work grew out of eleven years living and collaborating in Ethiopia. As a founding member of Debo Band and QWANQWA, Hostetter has been performing Ethiopian music for over two decades, and her solo debut, Woradj Alle, builds on this legacy by reimagining Ethiopian songs through live-looped violin and electronics.
"The album unfolds as a hypnotic, ritual-like performance that expands the instrument into an immersive sonic landscape, that refracts Ethiopian classics through dub, psych rock, and avant improvisation. It is not fusion, but transmission - music that blurs memory, place, and time.
"This collection of musical vignettes is based on my time in Ethiopia, the place I called home for 11 years", Kaethe explains. "The phrase 'Woradj Alle' is one of the first colloquial expressions I learned upon arriving in Addis Ababa, used on public transportation, simply meaning 'let me off right around here'. In choosing this name, I invite you to join me on the rickety minibus journey through my time in Ethiopia, and step off 'the bus' into scenarios, atmospheres, and soundscapes that describe moments I experienced, people I met, and other lasting impressions, striking and mundane."

Legofunk Records has returned with “Super Disco Edits”, continuing its signatureapproach of breathing new life into vintage grooves. This release fits right into the label’s niche: carefully crafted edits of classic disco and funk tracks, often extending breaks, enhancing rhythm sections, and making them more DJ-friendly while preserving the soul of the originals. Legofunk has built a reputation among collectors and selectors for digging deep and delivering versions that feel both nostalgic and fresh.

Sassy J’s acclaimed A Sanctuary tape mix arrives as a double vinyl release, featuring 18 of the 22 original tracks. All exclusive and previously unreleased music by 17 contemporary artists including Molinaro, Carlos Niño & Friends, K15, Kaidi Tatham, Legowelt, Afrikan Sciences, AsheTreJenkins, 2000Black and many more. A journey through sounds, spheres, moods and dynamics dedicated to the unity and empowerment of the independent artists.

"In 1910, the illustrator George Herriman created the Krazy Kat comic strip. Ignatz, a vicious mouse, was Krazy Kat’s arch enemy, and his favourite pastime was to throw bricks at Krazy Kat’s head (who misinterpreted the mouse’s actions as declarations of love)
"Ignatz is the alter-ego of Belgian musician Bram Devens. Since 2005, he has released around 20 albums accompanied by guitar, in LP, CD or cassette formats, on labels such as (K-RAA-K)³, Ultra Eczema, Fonal, Mortaux vaches, Okraïna, among others. Ignatz has toured all over the world: Belgium, Germany, the Netherlands, France, Great Britain, Italy, Finland, Greece, Switzerland, Portugal, Lithuania, the United States, Japan, etc.
"Since the beginning of his journey as a singer-songwriter, Ignatz has played wonderfully and mysteriously with the combination of the similar and the unfamiliar, between the repetition and permanent reinvention with slight shift in accents... Now For two decades, when discovering his new songs, whether on record or in concert, his expressive and sonic universe can be recognized in seconds, and at the same time, he surprises every time. This is clearly also the case with ‘I Don't Know’, an album for which (after the cassette ‘Coffee, No Cigarettes’, Taping Policies 2017) he trades his guitar for the piano.
"In the mid-2010s, Ignatz inherited the family piano. As a self-taught musician, he explored the instrument and gave a piano concert in the small Flemish town of Geel, which was filmed by Jef Mertens (who also released the aforementioned cassette) and attended by Beata Szparagowska and Philippe Delvosalle from the label By the Bluest of Seas. After some years, it was in his home in Landen that Bram Devens recorded this haunted piano album, which is unlike any other piano record."

Luke Seager delivers a new EP on Increase The Groove Records.

House, Tech House and Deep House intersect through precise grooves and a controlled energy, designed for the dancefloor.

Nativo’s remix offers a deeper and more assertive take on the EP’s central track, “Touch My Body”.

A direct, sincere and timeless EP.

For the first time on LP vinyl, Come Ahead: The Remixes Vol.2 (Dubs) brings Primal Scream’s club-ready reinventions into full analog glory. Originally released in FLAC format in 2025, this second volume dives deep into dub territory, reimagining tracks from Come Ahead with hypnotic grooves and spacious textures. Featuring reinterpretations by Lovefi ngers, Black Science Orchestra, Radio Slave, and Pet Shop Boys (in dub mode), each track pulses with low-end warmth and rhythmic experimentation. From the acid-drenched swirl of “The Centre Cannot Hold” to the narcotic haze of “Innocent Money,” this is Primal Scream at their most psychedelic and dancefl oor-minded. Specially mastered for vinyl, the sound is immersive and tactile — perfect for DJs, collectors, and audiophiles alike.

Eight tracks, nearly an hour of music, and a sleeve that nods to rave-era design make this a must-have for fans of dubwise house and experimental club culture. Limited pressing. Maximum impact. Come Ahead: The Remixes Vol.2 (Dubs) is available as 2LP Black Vinyl.

Saithara were a leading traditional Lanna music group in the Chiang Mai area, led by Chansom Saithara who was named a National Artist in 1996.

Chansom's son, Thepthara Panyamana, fronted the related Saithara "Combo", who explored a range of international pop styles to craft their light-hearted parody tracks in the local "kam mueang" dialect. The lead single here, from 1985, makes use of a well-known German synth-pop song which had become a surprise smash a few years earlier, while the b-side snags a similarly notable power-pop tune from the USA.

Thepthara was also a songwriter and instructor for the child musical group Nok Lae, a Chiang Mai area youth band who became mainstream crossover stars nation-wide. Thepthara passed away in 2017, and Baa Records has teamed with his brother Komsan to license this re-issue in his memory.

LP in Picture Sleeve

Following his acclaimed gospel compilations, Greg Belson digs deeper into the private soul and R&B world with The House of Beauty — a stunning new compilation focused on independent releases tied to chicago’s HOB label. Beautifully remastered, this Celestial Echo release tells a story of DIY soul at its purest and Carmen Murphy’s legendary work. An RSD 2026 special that embodies the day’s spirit — discovering overlooked voices and celebrating the communities that brought us some of the best gospel soul. 1xLP, Picture Sleeve, Remastered.

Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now.

From the 2016 press release:
Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section.
After a short second part, in which Ambarchi, O’Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.
Players: Oren Ambarchi, crys cole, Mark Fell, Will Guthrie,
Arto Lindsay, Jim O’Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

With "Jamaican (Bam Bam)," HUGEL and SOLTO breathe new life into Sister Nancy's iconic anthem - a bold, rhythm-charged reinterpretation built for the modern dancefloor. It grips from the first beat: dynamic drumming, crisp claps, and a bassline that rolls deep with sway and sensuality. Layers tighten and unfold, teasing the body as electronic tinctures flicker beneath, building lift and slow, simmering tension. Through it all, Sister Nancy's voice cuts steady and alive, grounding the track in its roots while driving it forward. The energy keeps rising vibrant, climactic, and free. "Jamaican (Bam Bam)" smolders from within, a kinetic force that turns motion into release.

Artwork by Rachael D’Alessandro. Words by Marie Floro. Executive Producer Mimmo Falcone. Distribution by Muting The Noise.

Istanbul-based producers Grup Ses and Gökalp K present their collaborative album on SOUK Records, showcasing a distinctive fusion of musical styles such as hip hop, grime, dubstep, and jungle. Two years in the making, their self-titled album features contributions from Cologne-based multi- instrumentalist Elektro Hafız, Marseille-based DJ Syr from Scratch Bandits Duo and Ethnique Punch, a Turkish MC & producer now based in Bremen.

Grup Ses project began in 2007, initially focusing on edits and breakcore mash-ups. By 2008, it evolved into a beatmaking project incorporating elements of humor and local materials such as records, tapes, and radio broadcasts, which have become the signature Grup Ses sound. Grup Ses has previously collaborated with sub-labels of Discrepant, releasing two albums on SOUK and three mixtapes on Sucata Tapes.

Gökalp K, the alias of composer and sound designer Gökalp Kanatsız, has been releasing music since 2011. Under this name, he has released two albums and performed as a DJ. Alongside his beat production, he also composes electro-acoustic music and collaborates with creative studios as a sound artist on various interdisciplinary projects.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

* Edition of 500 colored vinyl (transparent purple)
* Artwork developed in collaboration with Paris-based visual artist Caroline Ventura
* Including download code

i got a song, it’s gonna make us millions is the highly anticipated new album by Sirens Of Lesbos, led by sisters Jasmina and Nabyla Serag. The dynamic release is a vibrant showcase of the group's expansive musical range, blending R’n’B/Soul, Afrobeats, electronic music, and lo-fi indie pop into a rich, genre-defying experience. With its eclectic sound and captivating melodies, the album solidifies Sirens Of Lesbos as a standout force in modern music.

Featuring on the album are the singles “Room 333” feat. Kendrick-Lamar-collaborator Zacari, a futuristic R’n’B song with progressive club beats; the epic “Call Me Back” (feat. Drake-co-signed rapper SadBoi and the Kabusa Oriental Choir); and dub-infused reggae song “Let It Hurt”, plus new song “My Moon”, which draws inspiration from artists like Bruce Hornsby, Justin Vernon, and Jai Paul. Sirens Of Lesbos have earned widespread acclaim from outlets like CLASH, COLORS, Dork, Tsugi and Earmilk, with BBC 1Xtra’s CassKidd calling the collective “magical.”

As Black women living in the diaspora, Jasmina and Nabyla navigate the intersection of their parents’ collectivist North-East African culture and the Western emphasis on individuality. Questions of identity have always been central to their journey. While society often demands clear-cut definitions, the sisters have come to embrace their multifaceted identities: “We have always been many things.”

Both artists are deeply rooted in the technical and philosophical dimensions of sound. Jasmina recently completed her Sound Arts degree, and Nabyla is now finishing hers. Their academic pursuits have included creating abstract sound installations in exhibition spaces. However, their focus for the foreseeable future is on elevating the Sirens Of Lesbos project, writing and producing standout indie pop tracks, performing live, and delivering unforgettable experiences for their audiences.

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The vinyl version of i got a song, it’s gonna make us millions is published by Präsens Editionen, a Switzerland-based publishing house and music label. Founded in 2011 in the process of launching zweikommasieben Magazin, Präsens Editionen has since released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Recent audio releases include works by Martina Lussi, spalarnia, Magda Drozd, Anom Vitruv, Belia Winnewisser, and Red On, among others.

Repress 2025
The King of K-Pop Returns!

To those unfamiliar, G-Dragon is regarded by many as the Godfather of K-Pop. Rising to fame in the mid-00’s with his group, Big Bang, that later went on to become one of the world’s biggest selling boy groups. He quickly stood out with his unique and intricate songwriting as the leader of the group. A talented songwriter and trendsetter within the youth culture and fashion space, G-Dragon has received a bevy of awards, nominations for his music and fashion sense from the World Music Awards, to Hypebeast’s 100 list, to Forbes’ 30 Under 30 list, it’s apparent that G-Dragon has cemented his place in cultural relevance.

After serving his mandatory South Korean military service and a brief hiatus from music, the global superstar, G-Dragon has returned! He announced that he signed with indie-powerhouse, EMPIRE, and released his first comeback single on October 31, 2024 with POWER to immediate global fanfare and buzz, with the music video garnering over 44 MILLION views in a month and over 115 MILLION global streams. He soon followed that up with an electrifying performance at the 2024 MAMA Awards show in Osaka coupled with the release of his new single, Home Sweet Home which has garnered 100 MILLION global streams since release.

2025 will see the release of his first full length album since 2017 entitled Übermensch along with global tour dates. The album is expected to make a huge impact globally and further cement his place in music history!

Hip-hop royalty returns—Bun B and Statik Selektah team up once again for the fourth chapter of their blazing collabo-rative saga: TrillStatik 4. Recorded in real-time with that unmistakable underground urgency, this album is a master-class in modern rap chemistry, blending Bun B’s Southern grit with Statik’s boom-bap precision.

The guest lineup is nothing short of legendary. From DJ Premier setting the tone on “Live From Houston,” to Griselda heavyweights Westside Gunn, Conway The Machine, and Boldy James blessing “Trillselda 2,” every track hits with purpose. Regional flair runs deep, too—Paul Wall, Maxo Kream, and Lil’ Keke represent H-Town with pride, while East Coast lyricists like Termanology and Tek bring bar-for-bar fire.

This is more than a record—it’s a cipher of cultures, connecting street narratives, soul-drenched beats, and coast-to-coast talent.

When Ryan DeRobertis announced the name change of his project from Saint Pepsi to Skylar Spence, there was no indication of any stylistic departure, though the change arrived with a musical shift toward faster tempos and more pristine production. Whereas Saint Pepsi had often used decades-old boogie, disco, and new wave as grist for the sampling mill, Skylar Spence is intent on trafficking more overtly in those genre aesthetics through his own production techniques and vocal contributions. With Prom King, DeRobertis reorients his music for his new full-band live act and winds up with an album full of tight and enveloping dance tunes.

Working with Carpark Records 'gave me the confidence to 'go big' with the new material: to write pop songs with universal messages in the sonic wrapping paper that I've grown accustomed to,' DeRobertis says. 'A few songs on Prom King are about specific events in my life—a party where I got too messed up, watching a friend's life spiral out of control and trying to help—but I tried hard not to be too autobiographical because I want my music to unite, above all else. I'm much more interested in connecting with the listener than mystifying my personality.'

While DeRobertis' previous long-players have been more amorphous collections in the style of beat tapes, Prom King is compact and cohesive, with the album's varied stylistic references (new wave, UK garage, boogie) united through strong guitar melodies and Todd Edwards-ian cobblings-together of tiny vocal samples. 'I slowed some music down and called myself an artist,' DeRobertis sings on lead single 'Can't You See,' acknowledging in his lyrics what is already apparent in the music's tone—he can maintain fidelity to his vision while working in more uptempo, disco-based song structures.

'Ridiculous!' and 'Bounce Is Back' are big groovers that capitalize on jacking hi-hats and hand drumming, respectively, and both have an air of Balearic warmth and smoothness. On the title track, DeRobertis entwines a chorus of unintelligible but expressive samples with his own vocals—what feels like a synthesis of two approaches—and the result is an affecting pattern of build and release. More contemplative sophisti-pop numbers like 'Fall Harder' and 'Affairs' add a realist's breadth of scope: thoughts of past foibles bleed into present-dwelling and dancing.

Prom King is DeRobertis making sense of missed opportunities. His high school did not have a prom king; he has filled the position with an imaginative album of personal and musical revisionism.

WRWTFWW Records presents an ultra limited (100 copies !) vinyl edition of Meemo Comma’s Decimation Of I album, originally released digitally in 2024 on Mike Paradinas' Planet Mu label. The collector’s pressing is housed in a heavyweight sleeve.
Decimation Of I is the fifth album by Brighton-based electronic musician Meemo Comma. It's a work based on the Strugatsky brothers‘ 1971 novel Roadside Picnic, a book that was also turned into the Russian cult classic Stalker by Andrei Tarkovsky. The inspiration came from reading the book alongside the backdrop of global climate disasters where an environment is rapidly becoming less habitable, all while powerful nations occupy and commit genocide.

The rough story of both film and novel is about a select group of characters exploring a land that has been transformed by alien visitors. We never meet the extraterrestrials, nor is it important to, we only have the artefacts left behind. The environment itself becomes the character, neither wholly Earth-like nor alien, but a surreal blend of both, inviting introspection on our insignificance amidst profound change. Within this land’s rebirth, our characters confront ego death, a necessary step towards the profound revelation, the discovery of one's true desire in the absence of ego.

The album opens with the innocent flutes of ’They, spoke,‘ and the disorienting electronica of ‘The Soldier‘ building towards the Terry Riley like undulating clarinets of ‘The Poet’, whose intertwining synth organ drones set the scene. Nods to the seventies electronica of Wendy Carlos and Eduard Artemyev can be heard with the use of Bach melodies in ‘P3Alpha Exotoxin‘ and ‘Area X,‘ however each of these songs draw the listener to primal noise undercurrents, their disintegrating melodies hinting at humanity's gradual dissolution, unveiling profound revelations beyond our comprehension.

As the album reaches its midpoint, ‘Spectral Alignment‘ paints a hazy morning prairie scene with Aaron Copland style French horn, restful woodwinds, spatial arpeggios and a warm drone culminating in an emotional pitstop as the soldiers wake in the dewy morning of this alien landscape, unaware the last of their humanity remains.

The last sentence in Roadside Picnic “HAPPINESS FOR EVERYBODY, FREE, AND MAY NO ONE BE LEFT BEHIND!” is the inspiration for ‘As It Is Written.’ We can either take from this the total annihilation of self has been filled with propaganda from their homeland, or the epiphany of their own autonomy in the war against a land and its inhabitants.