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A defining transmission in the history of Skylax Records. Originally released across different moments of the Skylax catalogue, these recordings are now assembled as the final chapter of the Skylax House Explosion series — a project exploring the architecture, memory and survival mechanisms embedded within house music culture. The record opens with Move D’s “Outer Rim 64”, originally released in 2018 as part of the Skylax House Explosion narrative. Suspended between motion and distance, the track establishes the conceptual perimeter of this final chapter — a space where rhythm no longer functions only as propulsion, but as orientation. Here the listener stands at the outer edge of the dancefloor’s architecture, where structure persists even as its original social conditions begin to disappear. The sequence continues with Hardrock Striker’s “Motorik Life (DJ Sprinkles Dub)”, originally released in 2011. Rather than operating as a conventional remix, the Dub reinforces the motorik continuum of the original composition, transforming repetition into endurance. DJ Sprinkles preserves the infrastructural skeleton of the dancefloor — its capacity to sustain bodies through duration alone, without narrative resolution or emotional release. The record culminates with “Motorik Life (DJ Sprinkles Mountain Of Despair Remix)”, one of the most politically explicit works ever associated with Skylax Records. Through the relentless repetition of the phrase “mountain of despair,” Terre Thaemlitz dismantles the traditional function of dance music, transforming remix culture into structural critique. Referencing Martin Luther King Jr.’s famous metaphor, the remix removes the promise of redemption and leaves only the architecture of struggle. The dancefloor is no longer presented as escape, but as a temporary condition of survival. Together these recordings reveal house music’s true function: not to resolve despair, but to create temporary conditions in which bodies can continue to exist despite it.

AFTER THE DANCEFLOOR

you cannot preserve a dancefloor
by archiving its sound
because the dancefloor was never sound

it was bodies
finding temporary protection
inside systems designed to erase them

house music was never a genre
it was a survival strategy

when the lights disappeared
the structures remained
and so did we

We've got two brand spanking new exclusives for the latest Z Records 7 inch record. First up is 'Reach For It' Afrom The Sunburst Band with it's uplifting Mtume/Lucas feel, glorious vocals from New Jersey singer Tiffany T'zelle (fans will know her from Dave Lee's 'Produced With Love II' album) and all the usual star players of The Sunburst Band. Then making her debut on ZR is Queen B Unlimited with '27 Sided', an ultra smooth dose of modern disco-soul. It's and expertly produced love song about us all being different shapes, trying to find our match, we suggest turning the lights down low for this one.

GALA announce Ten Years of GALA – a compilation marking a decade of independent culture

Ten Years of GALA is both an archive and a horizon: a reflection on where GALA has come from, and a signal of what lies ahead.

Founded in 2016 as a one-day gathering in South London, GALA has grown into a global point of reference for dancers, artists and collectives drawn together by a shared commitment to independence, collaboration and underground music culture. Rather than charting success through scale alone, the festival has consistently prioritised integrity, community and musical curiosity – values that underpin this release.

Spanning fifteen tracks, Ten Years of GALA unfolds as a considered journey. It opens with an intimate spoken contribution from Charlie Dark, grounding the compilation firmly in GALA’s home of Peckham before gradually expanding outward into fuller, club-focused terrain. From there, the record moves between moods and tempos, tracing a path from reflective moments into the physical language of the dancefloor.

The compilation brings together longtime friends of the festival alongside newer voices drawn into its orbit in recent years. Each artist contributes a distinct perspective, but collectively the tracks form a coherent portrait – not of a single sound, but of a shared ethos shaped over ten years of gatherings, collaborations and days spent dancing together.

Rather than a retrospective in the conventional sense, Ten Years of GALA functions as a living document. It captures fragments of past editions, scenes and relationships, while remaining firmly oriented toward the future. These are not museum pieces, but records designed to be played, shared and folded back into the spaces from which they came.

Together, the compilation holds a piece of GALA’s first decade – not as a closed chapter, but as a foundation for what comes next.

Those albums that never age, that never cease to surprise with their innovative freshness—listen after listen—defying the years that go by.

Released in 2016, Heimat’s debut album is one of those records you love knowing is there on the shelf or on the turntable, like a reassuring talisman.

To mark its 10th anniversary, and such an awaited repress, we decided to honor this landmark album as it deserves: with a powerful remaster by Tioma Tchoulanov (UVB76, NzeNze) featuring enhanced dynamics, and an ultra-limited edition on blue splatter vinyl.

What a beautiful object this is, celebrating—alongside Armelle and Olivier Demeaux—ten years spent exploring the outer limits of music, in France and abroad, from SMAC venues to squats and other joyful initiatives.

Their deeply sincere music loses none of its naive tension; the emphasis is there, yet it remains restrained, contained, almost nervous, without any show of. Here, then, is something to make this fantastic album, a subtle milestone in a teeming musical landscape.

A fine achievement indeed!

A collection that balances soulful vibes with modern an edge. Saison's "Can't Get Through" opens with deep textures and a classic house swing, while Piem, Saison & Kid Enigma's "Don't Stop" injects vocal fire and raw energy into the A-side. Flipping over, Matt Gillespie's "Need You Now" layers warmth and urgency into his take on the classic garage sound. Closing the record, Scott Diaz & Miss Yankey's "Intergalactic (Alternate Rub)" ventures into more garage territory with its atmospheric pull and soulful chords. A versatile package that brings together established names and rising voices in perfect balance.

A reissue of Volumes 1 and 2, originally released on the Rephlex label in 2007. This time, both volumes are brought together in a superb gatefold sleeve 4LP, taking you on a journey through the very best of Andy Jenkinson's work: Cool music, a blend of such quintessentially British culture that swings from gabba to IDM, from rough techno to electro to acid and analogue sounds - all packed into over two hours of madness. Here we go again!

RAWAX welcomes Caruan to the artist family! We are very happy to present you this great artist, who already released on iconinc PERLON. Gaetano delivered here a fantastic mixture of genres. Each track is diffrent and the whole ep tells a story from Minimal to Techno, from House to Jazz and that makes Gaetanos debut for us so special.

All tracks are written and produced by Gaetano Caruana aka Caruan
Piano on "Diaphragm Jazz" by Stefano Onorati , trumpet by Andrea Guzzoletti
Piano on "La Vida Siempre Puede" by Stefano Onorati
Big Sausage is written and produced by Gaetano Caruana and Marzio Aricò.

Das untote Quintett GRAVETY ist aus seinen Gräbern auferstanden. Angetrieben von der Kraft des mächtigen Cryptor haben sie neue epische Hymnen geschaffen, die diesmal düsterer und heavier sind. Auf ihrem dritten Album "Of Cults And Chaos" entführen sie ihre Children of the Grave in die verdammten Reiche des kosmischen Horrors. Inspiriert von H.P. Lovecraft und John Carpenters Apokalypse-Trilogie verbinden die Songs die Markenzeichen der Band wie treibende Riffs, eindringliche Parts, eingängige Refrains und dramatische Dual-Gitarren-Leads mit atmosphärischen Elementen und spannendem Songwriting. Tritt dem Kult bei!

Fust’s first record "Evil Joy" was a bitter domestic drama obsessed with the kitchen-sink passage of time measured by moments of leaving and returning. With "Genevieve", we find a different kind of leaving: leaving behind, leaving one’s old ways, starting anew, a small life together, in “Family Country.” Thus, Genevieve: an historical name for both the saintly and the ordinary, the peasantry and the family, the community and the wife, extreme devotion and absolute forbearance. While sonically and instrumentally louder than Evil Joy, Genevieve is thematically more quiet about its pains—more settled in its ways. It is a collection of pathetic love stories written in dedication to “small life,” moving from gentle exceptions (“I can take the late hours if you’re with me”) to pitiful admissions (“I’m never going to change when I leave…”). What comes with a quiet life? The highest forms of beauty, but we also find here songs of unspeaking companions, the sublime dread of having children, the balance of humility and humiliation, playing the fool for the greater good, and… budget birthday parties. With these stories of possible growth, "Genevieve" can’t help but also feature tried and true examples of crisis and repression: seeking a bygone lifestyle in an old friend who hasn’t changed much over the years, pissing contests, search parties as the form of community for melancholics with no clue what they’ve lost, old flames you won't let go and dying flames you won’t admit. "Genevieve" was recorded throughout 2021-2022 (mostly) at Drop of Sun studio in Asheville NC by Alex Farrar. The painting by Sasha Popovici is exactly right: a domestic scene yet unfinished. Many friends helped to make it much better than it was without them—Xandy Chelmis, Michael Cormier-O’Leary, Indigo De Souza, MJ Lenderman, Courtney Werner.

Seit mehr als drei Jahrzehnten befindet sich AFI in einem nahezu ständigen Prozess der Neuerfindung. Die Band hat es sich zum Ziel gesetzt, sich mit jedem Album weiterzuentwickeln - manchmal sogar dramatisch - und sich niemals zu sehr in einem Genre einzurichten oder sich auf ihren beeindruckenden Erfolgen auszuruhen. Dieser Ansatz hat ihr Publikum vergrößert, aber auch herausgefordert mit einer klanglichen Identität, die sich in wilde, unerwartete Richtungen entwickeln kann. Mit ihrem zwölften Album "Silver Bleeds the Black Sun_" stehen AFI erneut am Anfang eines mutigen neuen Kapitels, nur dass sie es diesmal geschafft haben, sich selbst zu überraschen. Wie schafft es eine Band, die für kreative Umbrüche bekannt ist, immer wieder Wege zu finden, sich selbst aus ihrer Komfortzone herauszuziehen? Normalerweise beginnt die Band ein Album, indem sie sich sofort in das Schreiben stürzt und sich einfach von ihrer intuitiven musikalischen Sprache leiten lässt. Für "Silver Bleeds the Black Sun_" jedoch haben AFI sich bewusst dazu entschlossen, ihren kreativen Ansatz komplett zu ändern. Diesmal begann alles mit einer Frage: Wie könnten sie neue Wege beschreiten? Der Schlüssel zum Fortschritt lag letztendlich in der gemeinsamen Vergangenheit von AFI. "Wir begannen mit etwas, das wie Echo & the Bunnymen klang", erklärt Gitarrist Jade Puget, der das Album produzierte und abmischte. "Aber schließlich landeten wir bei dieser Mischung aus Death Rock und Postpunk - all diesen Einflüssen aus den späten 70ern und frühen 80ern, mit denen wir aufgewachsen sind, wie Sisters of Mercy, Bauhaus und Siouxsie and the Banshees." Das Ziel war es, ein Album mit einer einzigartigen Stimmung zu schaffen, etwas Verträumtes und Ätherisches, und die Bandmitglieder tauchten kopfüber in Einflüsse ein, die schon immer tief in der Musik von AFI verwurzelt waren, jetzt aber in den Vordergrund rückten. "Silver Bleeds the Black Sun_" ist düster und jenseitig, aber auch grandios und würdevoll, bissig und schön zugleich - mit anderen Worten: Es ist sehr AFI, aber doch anders als alles, was man bisher von der Band gehört hat.

For their third album As You Please, Citizen is looking inward. Pairing up again with longtime producer Will Yip, the band presents twelve songs that fuse aspects of their entire catalog into one neoteric whole. While the cathartic melancholy of their debut Youth and the jarring intensity of 2015's Everybody is Going to Heaven are both present, the most welcome addition to Citizen's arsenal on As You Please is the range of auxiliary instrumentation and sonic experimentation on the album. This is most notable on "In the Middle of it All," where vocalist Mat Kerekes is sampled singing the song title in a modulated, haunting chorus that echoes throughout the song. The addition of organs and unconventional drum effects on songs like "You Are A Star" and "Medicine" create shifting emphases on tension and frailty, while the huge choruses of songs like opener "Jet" and "I Forgive No One" are reminders that while Citizen dove headfirst into uncharted territory with their new album, the band is still as good as ever at writing emotionally-charged anthems. As You Please presents Citizen's vision at the most focused it has ever been - it is delicately crafted to provoke at every moment.

Actor, comedian, friend of the label, Aziz Ansari (of Parks and Rec fame) has visited Third Man a handful of times, even gracing us with a surprise live set back in 2013. For years we've been working hard to find something to release together and his second Comedy Central stand-up special, Dangerously Delicious, which was originally released in 2012, contains so many great moments (50 Cent's 1st grapefruit experience, anyone?), it just needs to be pressed into wax. So, here we've done it! Put the needle in the groove and let the good times roll, friends. Co-released with Comedy Central

Ian F. Svenonius and the philosopher of fuzz, black-jacket beat-bopper, bandstand bolshevik, single note savant, tear-stained tape deck, last refuge of ineptitude, sin is in group, ESCAPE-ISM stopped by our Detroit location one spring afternoon and recorded this pan-sonic polymorphously perverse plastic platter live on the Blue Stage. TOP SECRET. DO NOT BUY.

Formally a member of New York folk group Woods, Kevin Morby has made a name for himself with his four acclaimed solo releases. These songs, "Destroyer" and "Black Flowers", come from his third record Singing Saw, which was chosen for Pitchfork's Best New Music. "Destroyer" is an autobiographical minimalistic keyboard ballad, a distant cousin of the full band album version. "Black Flowers" on this single borrows less from the sweeping orchestras of Leonard Cohen's catalog and more from the melancholic austerity of Bert Jansch.

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k 11Mudcrawlers (Feat. Benji Webbe) version











[k] 11Mudcrawlers (Feat. Benji Webbe) [version]











[k] 11Mudcrawlers (Feat. Benji Webbe) [version]











[k] 11Mudcrawlers (Feat. Benji Webbe) [version]

After six years, Seahaven return with their long-awaited self-titled album, their first new full-length since 2020's Halo of Hurt. Formed in Torrance, CA in 2009, the band built a dedicated following with releases like Winter Forever, blending emotional songwriting with expansive alternative and indie-leaning rock. Their self-titled album marks the next chapter for the band, delivering a focused collection of songs that reflects their continued evolution.

SOLAH steps back onto the scene with her second studio album Forever, set for release on 5th June 2026.

Primarily recognised for her soulful melodies, unmistakable voice and down-to-earth artist persona, Forever holds steady onto these qualities, yet finds freedom in straying from expectations. Atmospheric and all-encompassing, the album's list of collaborators spans beyond the UK to the Netherlands, Tokyo, Sao Paulo and beyond - a reminder of drum & bass' global collective identity, and testament to the musical connections and friends in the industry that she has made over the years, since her first album King. 2x12" Gatefold Vinyl - SOLAH's Forever LP is available on sleek double vinyl packaged in a gatefold sleeve, featuring full album tracklist, lyrics and bespoke imagery.

Following the underground cult success of Mystical Funk, Gerardo Frisina returns to the 7” format with a new double-sider aimed at dancefloors, collectors, and selectors with a taste for cinematic funk. A record that feels as though it emerged from a lost Afro-funk session, where cosmic funk and Afro-Latin grooves are filtered through a distinctly modern electronic sensibility.
On the A-side, “Duala”, inspired by the African city of Douala, pays tribute to Afro-funk in its most visionary era, evoking the unmistakable sound made famous by the great Manu Dibango. The track opens into a dense and hypnotic electronic funk journey: pulsating basslines, fluid guitars, psychedelic synthesizers, and a rhythmic tension that recalls the golden age of Afro-funk. A nocturnal voyage through rare groove and cinematic atmospheres, with the groove constantly remaining at the heart of the composition.
On the B-side, “Lindeza” is a tribute to the beauty and richness of Brazilian musical culture. A track that shifts perspective while keeping the temperature high: elegant, percussion-driven electronics with a Latin spirit, flowing at around 110 BPM. Warm and magnetic, the piece carries all the hallmarks of Gerardo Frisina’s sound, where futuristic jazz, tropical funk, batucada, and club culture meet in a refined production designed equally for deep listening and the dancefloor.

Niall Horan kehrt mit seinem vierten Soloalbum „Dinner Party“ zurück. Er selbst beschreibt es als „ein
Dankeschön an die Vergangenheit und ein Willkommen an die Gegenwart“ und präsentiert darauf zwölf neue
Songs, die sich mit Themen wie Liebe, Intimität, Angst, Verlust, Hoffnung und Träumen auseinandersetzen.
Mit seiner zugleich cineastischen und organischen Klangwelt lädt „Dinner Party“ die Hörerinnen und Hörer
ein, Platz zu nehmen und die Wärme, den feinen Humor und die Aufrichtigkeit zu erleben, die dieses Album
prägen.

Vince Staples is one of the most revered voices of his generation. Though he's a celebrated multi-hyphenate, making an impact in TV, film, & contemporary culture, music is where he most naturally pushes boundaries as an artist, storyteller, & creative force. Following a string of acclaimed introspective projects, Ramona Park (a melancholic tribute to his hometown) & Dark Times (deeper, more personal themes), Cry Baby is a more outwardly facing artistic statement and piece of social commentary.

“Still Blooming“ hieß das im April 2025 erschienene dritte Album von Hollywood-Multitalent Jeff Goldblum. Darauf überzeugte er nicht nur als Pianist, Bandleader und Sänger, sondern konnte auch seine
Schauspiel-Kolleginnen aus den gemeinsamen beiden “Wicked“-Filmen, Ariana Grande und Cynthia Erivo
für eine Mitwirkung als Sängerinnen gewinnen, neben der nicht weniger bekannten Scarlett Johansson.
Aufgrund des großen Erfolges erhält “Still Blooming“ jetzt ein fabelhaftes Nachfolgealbum mit dem Titel
“Night Blooms“. Darauf greift Goldblum nicht nur vier Tracks des Vorgängeralbums in neuen, stimmungsvollen “Late Night Session“-Versionen wieder auf, sondern hat auch sechs brandneue Tracks im
Gepäck, auf denen die Gaststars Melody Gardot, Charlie Puth, Cynthia Erivo und dodie glänzen. Das Album runden zwei bislang nur digital erschienene Pop-Hits ab, die Goldblum zusammen mit Sängerin Haley
Reinhart in loungige Bossa-Tracks verwandelt hat: “Lover“ von Taylor Swift und “Tattoo“ von Loreen.

2026 Repress

Two massive hits from the past which have been brought back into the light of the day by Michael Mayer.

The aptly named "Momentum" is the label's first EP from Decoder, who recently released an album to wide acclaim on Planet X. Spread across 6 tracks, the EP is drenched in psychedelia as it effortlessly moves through different moods and aesthetics to take dancers through the night.

"Flowing" begins the EP with stripped-back percussion and moody atmospherics, transporting the listener into a trance. "Photon" takes a nostalgic trip back to the 90s, featuring a 909 workout that's heavily processed with intensifying effects.

"Strawbs" presents what might be the most captivating track of the EP, characterized by its rolling, hands-in-the-air vibe that persists throughout the song. To conclude the vinyl, "Dyslexic" is intricate and enigmatic in all thedelightful ways. Mallets intermittently appear and disappear as the 909 maintains a steady rhythm. "Dyslexics untie!"

..an uncontrolled awakening of the inner intelligent groove...
This is the third gargantuan installment for this unassailable vanguard.
Four tracks of the undiluted, high-tech energy you would expect from these storied creators.

The dream team of Sugar Minott and Victor Axelrod returns with a deep rub-a-dub reggae take on The Notation’s low rider classic, “I’m Still Here”. Shortly after falling in love with the song via a 45 mix from Gabe Roth, Axelrod received a serendipitous message from the late great Minott saying he was in town and ready to work.

Sugar's effortlessly soulful vocals coupled with Axelrod and Co's sweet and spacious groove, transform the Notation's track into a slow , sticky revelation of love that's actually stable. The perfect soundtrack for discerning soirees and those moments where you have one foot out the door but need a moment of reflection.

Debut vinyl release from San Francisco indie pop trio The Kitchenettes. After a quietly beloved 2024 demos tape, The Kitchenettes return with their first vinyl release: a sparkling three-song 7" that updates the timeless indie pop template of Marine Girls, The Cat's Miaow, and Lois for 2026. Across the three tracks, the band moves gracefully between tender, jangling pop and brighter, upbeat moments, revealing an impressive range of mood, tempo, and texture. Formed by Morgan (The Umbrellas, Telephone Numbers) with Emily and Sequoia (The Snogs),writing collaboratively and trading vocal duties, the band crafts effortlessly charming indie pop built on jangly guitars, loose harmonies, and a homespun DIY spirit. Short, sweet, and full of heart, it's a perfect introduction to one of San Francisco's most charming new indie pop groups.