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Dr. Silberman makes a welcome return to Atom Trance Force and kicks things off in 2026 with his EP 'Welcome To The Future'. Two mixes of the title track are included: The fast paced original and the trance mix. The original is a serious ode to the late 90s Hamburg hard trance sound, and you can hear the influence of labels like EDM, Tunnel & Spaceflower. For the trance mix, he brings the tempo back down to 140 and moves more towards older Positiva energy. Rounding off the EP is Friends & Enemies, keeping the energy high but the quality to match.

From Atom - we thank you for your continued trust, and bigups to those supporting this release:

1995 Trance Sessions, Adam (Last Of The Mohicans) [Apple FM], Adam Bellew [Global Hard House Radio], Angie (FR), Busho, Choci, Digital Devil, Dimitri Kechagias, DJ Brisk [Stimulant DJs], DJs Present, Evolving Suns Audio [Cohesion / The Attic], Giuseppe Ottaviani, J.O.E [Tomorrows World], Jake Ayres, Jake Grace [TranceUnite / FCM Live], Jake Nicholls [Uprising], Loki [Terminal Trax], Louk / Hidden Identity, Mat Phat & Fugee Show [Newport City Radio], Mind Control [Noise Pollution], Mindflux, Paul Nineham [Brisk], Pete Morton [Harderfaster], Remnis, Renegade System, Rennz [Distorted Dreams], Rightsound [Dancesation / Timewarp], Rocco Jonsson [Collide / The Carnival Sweden], Spaceman [Tuned Flow], Spektral Noise, Suzy Solar, Tjerk Coers

Extinction Burst! is the new invocation in album-form by Guttersnipe, Leeds’ premier and pre-eminent XFCER (XFCER: Xenofeminist crisis-energy rock)* duo. Slamming at full speed to multi-dimensional oblivion, Extinction Burst! is the most full, hidefinition lurid dream-mare yet spewed out by Uroceras Gigas & Tipula Confusa. Engineered and mixed by Ross Halden at Hohm Studio in Bradford and mastered by Rashad Becker, Extinction Burst! follows 2018’s My Mother The Vent, which garnered universal critical adoration. Nevertheless, this long-awaited follow up is more extreme: it is wildness beyond reason, splitting new tears in the reality gauze, ultimate hallucination through sound ecstasy. 2026’s Guttersnipe are evolved, mutated by 8 years of touring together and with the labyrinthine network of groups both Guttersnipe members are involved with - Tristwch Y Fenywod, Nape Neck, Petronn Sphene, Yexxen to name a few. On Extinction Burst!, as with previous material, the duo are heavily augmented with technology. Tipula Confusa's drum kit triggers chasm-causing synth pulses with thumping low end attack.. Strafing from all over the stereo field the constant shatter of the cymbals and toms feel like Sunny Murray or Rashied Ali in full flight during a John Coltrane session in 1967. Uroceras Gigas’s guitar + synth storm is by-now similarly an instantly recognised tool kit in underground music. Switching from screeching guitar atonality to intricate riffs from the black metal/Voivod hinterland to ultra-distorted synth meltdown, it’s an utterly overwhelming, essential and vital pouring-out of the full emotional spectrum. Both artists vocalise, ecstatic and primal, drawn out or yelped in pain or pleasure or panic. Alive On Tuesday begins with some of the only space on Extinction Burst! Digital crackles and tight-delays blow out into a fullthrottled death-dive into sweet opaqueness, offset by the duo’s vocals. There’s a popular believe that Guttersnipe is chaos, but over 9 mins here the group are clinical in their control of the simulated entropy. Mincing while the Maelstrom Churns’s guitar is modulated into jagged atonal atonement, duetting with the virtuoso drum patterns before it thuds into gear at quadruple the speed. Threads Of Radical Unaliveness veers close to the extreme Metal influences with blast beats and guttural vocalisations until the track exhausts itself into unaliveness. Keep Honking summons a demonic digital panic, with the duo reincarnating in real time as haunted versions of themselves, almost translating the lurid, ultra vivid, simultaneous hell+heaven of being alive in this dimension. Primordial Invagination harnesses No Wave’s dissension of normality before the structured collapse of Skra¨ckblandad Fo¨rtjusning, in which Tipula Confusa’s accelerating drums simulate a bouncing barrel of brimstone descending into a primordial gunky ooze, a respite in the middle before the record splutters to a stuttering finale, both members’ vocals out there in the neon realness, alive with crisis energy. There is nothing on this cursed earth like Guttersnipe. For over 10 years they have whirled in a wiggliness both woebegone and wonderstruck on a mission of radical mutant exaltation using rock music weaponry loaded with a queer hysterical ammunition to rupture the fabric of the known Rock universe and unleash a tendril-soft hallucinatory violence; thrumming with the bracing vividness of insect bodies, crazed with alien synaesthetic emotions, harnessing jagged excoriating illogic as a face meltingly snazzy affront to redundant macho mediocrity with the hope to break minds, squeeze hearts, explode pelvises and maybe even reset the parameters of reality. Addendum: xenofeminist : proposing and creating a world defined not only by sexual/gender equality, queer empowerment and the toppling of the racist heteropatriarchal hegemony and it’s tyranny of phallogocentric signifiers, but a philosophy of radical queerness that explodes the basic notion of embodied existence itself beyond even the human, where we see bacteria, invertebrates, reptiles, marine life, animalia in general, inanimate objects, quantum phenomena and as yet inarticulated bodies and minds as social and political equals that may inspire and inform our concepts of self, feeling and meaning as we labour to build a collective reality that doesn’t completely suck!! crisis energy : a term borrowed from the weird fiction author china mieville to describe a type of extreme concentration of power which emerges when a system or organism is pushed to it’s absolute limit; the point of rupture, chaos, entropic overload, just before it all breaks apart. rock : Rock ’n’ Roll, rock music, the devil’s music, sex, guitar, drums, voice, rhythm, riffs!

Evergreen In Your Mind, the new and third album from Norwegian singer-songwriter Juni Habel, exists in two worlds at the same time. Songs were recorded in quiet corners of her home, on the piano in the school where she works, and it uses the physical world around her to provide percussion. It also takes place, as she herself attests, within a dream; an imagined place in which her desire for oneness with each other and the world around us is finally realised.

Evergreen In Your Mind was recorded with co-producer Stian Skaaden, it’s Habel’s first album in three-years, following the breakthrough success of 2023’s Carvings LP. Formed of eleven new recordings, the songs here remain delicate, Habel’s voice playing an elegant lead role – but there are fluctuations too.

These small shifts in Habel’s sound result in a notable stride forward. More focus went into the groove of these songs. Playfulness was embraced and, perhaps most importantly, patience played a fundamental role in shaping the album with time and care given to every element of these songs. “We always aim to capture effortlessness - but the way of getting there is anything but effortless,” Habel reveals.

This extra time that was given to the project gave Juni the space to nurture her creativity. She would read and listen to music, hike into the hills, place herself within nature and seek out stillness. Not as a deviation from her work but as a fundamental part of the process. It’s a search for connection, and it’s a recurring theme across Evergreen In Your Mind; the polarity between stillness and passion, also our resistance to these desires, and the things we want to live and experience.

The album’s title-track and fist single feels indicative of this narrative. A gorgeous, delicate folk song, it finds Habel out in the woods, hiding from real life, caught in the space between the natural world and the pull of modernity. “It’s nostalgic. It’s about looking back and realizing things will be different,” Habel says. “Its about visualizing something beautiful in your head that you keep clinging onto.”

The album cover for Evergreen In Your Mind also adds shimmer. A striking photograph of Juni among the mountains, it was taken on a day trip to Rondane, a five-hour drive each way from her home. Habel explains. “It was awe-inspiring to drive all the way up into the high mountains, with its wide plains and intense colours. For an album with music that at times likes to hide itself, I think it fitted nicely with such an epic, grand, and powerful landscape.”

"Fans of Nick Drake, Karen Dalton and Neil Young will find much to enjoy in this musical equivalent of an evening spent alone by the fireside.” The Times

Transient Response is a storytelling of moods in motion, from city to city, situation to situation from China-born, London-based artist Guohan. Side A opens with ‘Don’t Forget Your Hiss’, a funky dusty groove built around the repeated phrase ‘带走我的’ gradually unfolding into ‘带走我和你的故事’ meaning ‘bring along the stories of yours and mine’. ‘First Light’ follows as a percussive MPC-driven slow burner, capturing a swirling summer day in the studio.
Side B starts with ‘Seeds of Tomorrow’, a mellow drive through thoughts with a broken groove constructed with drum machine, djembe and shaker. Growing synths and bassline from the analogue devices keep your head nodding and feet moving. Backed with a remix from Xiamen-based artist Knopha.

Music For Parents is a low-frequency, vibroacoustically informed album developed through research into sound, rest, and nervous system regulation. Composed between 2019 and 2020, the record explores slow-moving bass structures and reduced harmonic density, inviting a form of listening that is felt as much as heard.

The work emerged from a personal process, shaped by a desire to support rest and release through sound. Music For Parents takes its title reflecting on the dynamics of parent–child relationships - formative environments that shape emotional, sensory, and relational orientation, often without clear language or shared understanding.

While effective on standard playback systems, the album can also be paired with vibroacoustic devices such as bass transducers or wearable low-frequency systems for enhanced somatic engagement.

Widely regarded as Romeo's finest work, the album is a landmark of roots reggae, combining political commentary, Rastafarian themes and Perry's distinctive dub production style. Released on Island Records, the album reflects the social and political turmoil of mid-1970s Jamaica, addressing poverty, violence, and oppression.

The record features nine tracks, including some of Romeo's most enduring songs such as "One Step Forward," "War Ina Babylon," and "Chase the Devil,".

War Ina Babylon is often grouped with other Black Ark productions as part of a celebrated trio of reggae albums from the era, and it remains one of the most acclaimed and influential releases in the genre.

Sultans Ghost Ship LP was originally released on Sympathy For The Record Industry in 2000. While RFTC looked for a new drummer, Speedo (armed with an 8 track tape machine and 3 microphones) devised yet another alias as “Slasher” and concocted this primordial ooze of moped scuzz, punk rock and roll. Ghost Ship was met with enthusiasm by those seeking blistering relief from the weak, whiny, wretched and wimpy wannabes du jour.

The sound is full on, straight ahead with only starting gates and finish lines between songs. The band played some shows around California and would slightly evolve on their second LP Shipwrecked. Ghost Ship is Sultans at their most thuggish and hairiest. Taking inspiration from Australia’s Chosen Few, Ramones bootlegs, Misfits bootlegs and then challenging themselves to be as thrifty and impatient as possible, the songs are intentionally brief, similar and burly. After this was recorded these tapes lay dormant in a shed for over 20 years. When the tapes were recently unearthed it revealed unreleased songs recorded after Ghost Ship yet before the band’s follow up LP Shipwrecked. Some of these songs would later be absorbed by RFTC and re-recorded. These songs are included here as bonus tracks and offer no relief to the record’s unrelenting pace.

First ever vinyl release of this massive classic psychedelic black rock funk compilation. Lovingly reproduced for audiophiles on black vinyl and packaged in a fully artworked sleeve and labels and shrinkwrapped. Limited edition vinyl press! “One of the best compilations of formerly released material ever made. A classic” “The whole compilation is pretty damn sweet, but anything dug up by Iron Knowledge is essential listening”!

Convergence is an ambient album formed through a series of morning rituals during rehabilitation following a severe medical event and an extended hospital stay. After weeks immersed in the constant alarms, beeps, and environmental signals of medical equipment, the act of listening itself became recalibrated. The music was performed and assembled using glass marimba, flute, and analog synthesizers, with each instrument treated as a source of resonance and gradually dissected through spectral analysis—allowing melody to emerge from fragments through repetition, attention, and daily practice, where synthesis functions not as traditional composition but as an exchange of signals.


Working slowly and intuitively, Stardust Multiplier approaches sound as a communicative medium between humans, the natural environment, and non-ordinary states of perception. Motifs evolve through repetition and subtle variation, informed by ceremonial music, mythic structures, and speculative communication frameworks associated with non-human intelligence—not as narrative devices, but as metaphors for attuned listening and pattern recognition.

Rather than moving toward resolution, Convergence documents moments of alignment—instances where intention, system, and environment briefly synchronize. The result is a restrained, deeply focused record, less concerned with atmosphere than attention, where synthesis functions as both a grounding practice and a method of inquiry.

Soulbound with their new album "Addicted To Hell" from 2020 stand for urban, end-time Industrial Metal. They don't renounce their roots from Alternative Metal and keep their trademark despite all harshness: catchy melodies with dystopian and socially critical lyrics. Stomping beats combine heavy guitars and aggressive synths to an apocalyptic mix of Gothic, Metal and Industrial which in this form is still unparalleled. Here comes the album for the first time as a limited edition vinyl neon orange/black dust gatefold.

The Voodoo Universe is now complete! The masterpiece combining the Trilogy 1-3 will be released on November 27th and is a magnificent work show of the multifaceted genius.

Concerts by successful musicians often have an air of church-mass: Fans pay homage to their idols, hailing them, giving the impression of following them blindly. Parov Stelar, a globally successful musician from Austria, is one such artist. Is this art of seduction a kind of Voodoo, Black Magic even? Who can tell? It makes no difference whatsoever, as to his fans Parov Stelar easily passes as a High-Priest of grooves that perfectly understands how to put them in ecstasy.

In Voodoo, Bondieu, a higher being communicates to the masses through priests called Loas. Parov Stelar manages to do so with his music. Voodoo Sonic was born and delivered with the idea to replace the conventional album with several EPs, allowing greater musical freedom and the possibility to explore the many sonic landscapes of Voodoo Sonic.

Now the Voodoo Sonic Universe is complete and celebrated with all three parts combined into one ultimate and highly demanded package. It's a Parov Stelar work show which makes it possible to enjoy his diverse sound world in all of its facets.

The Artwork for Voodoo Sonic was designed and painted by Parov Stelar himself. From the art studio to the recording studio, on to the dance floor in the form of art and beats. Parov Stelar is an all in one king of art.

The icing on the cake is the Voodoo Sonic documentary, which can be seen on all Parov Stelar channels available. (coming September 2020).

If you want to see Parov Stelar live, you will get the chance in summer 2021 at festivals in many countries following by a headliner tour across Europe towards the end of the year.

The label Erdgeschoss celebrates the freedom of sound and vision at the bar of life, like football – only with a bass drum instead of a ball. And with beer. Because even with vinyl records, the ball has to go in the net.

Pop Vampires Cologne will kick things off; their surrealist debut masterpiece, Karianne, was already released at Total 25 last year. PVC lives up to its name. Like vampires, oskø and Wassermann once again sample their way through the pop supermarket of unlimited possibilities.
Almost overnight, in their illegal, digital garage, they clone hybrid sound structures, saturated with both foreign and self-injected blood doping. Forbidden fruit is known to taste the best. Consciously, explicitly, and provocatively, PVC explores sampling as an indispensable stylistic device, a universal tool for quotation and pop networking. Equally daring and respectfully irreverent, they oppose the new, all-disenchanting AI search engines on the internet with the freedom of art. The rest is surrealism. Just like the accompanying video, which isn't a video in the conventional sense, but rather a kind of making-of with Sabine as the main front character. And the digital versions of some tracks may differ slightly from the vinyl versions.
Because: Anything goes…

Das Label Erdgeschoss feiert an der Theke des Lebens die Freiheit von Sound and Vision wie Fussball - nur mit Bassdrum statt Ball. Und mit Bier. Denn auch bei der Schallplatte muss das Runde ins Eckige.

Den Anfang machen Pop Vampires Cologne, deren surrealistisches Debüt-Meisterstück Karianne bereits im letzten Jahr auf der Total 25 erschienen ist. Bei PVC ist der Name Programm. Wie Vampire sampeln sich oskø und Wassermann einmal mehr durch den Pop-Supermarkt der unbegrenzten Möglichkeiten. Quasi über Nacht klonen sie in ihrer illegalen, digitalen Garage hybride Sound-Gebilde, getränkt mit Fremd- und Eigenblutdoping. Verbotene Früchte schmecken bekanntlich am besten. Bewusst, explizit und provokant arbeiten sich PVC am für sie unverzichtbaren Stilmittel des Sampling als universelle Zitat- und Pop-Vernetzungsmaschine ab. Ebenso wagemutig wie respektvoll respektlos, halten sie den neuen, alles entzaubernden K.I. Suchmaschinen im Netz die Freiheit der Kunst entgegen. Der Rest ist Surrealismus. So wie das dazugehörige Video kein Video im herkömmlichen Sinne ist, sondern eine Art Making Off mit Sabine als Frontdarstellerin. Und die digitalen Versionen einiger Stücke sich leicht von den Vinyl Versionen unterscheiden. Denn: Erlaubt ist, was gefällt…

In a Secret Room is a retrospective that reopens the sonic and visual archive of KKD, bringing back to light a trajectory that long remained underground within the history of Italian new wave. The tracks, recorded between 1979 and 1986, reflect a constantly evolving process shaped by experimentation, improvisation, and a drive toward new languages. The project takes shape inside a former hotel in Italy’s Po Valley, transformed into a studio, rehearsal space, and visual lab.

Here, among analog synthesizers, homemade electronics, and multitrack recorders, Kriminal Killer Division experimented with and pushed their available technology to its limits, developing a hybrid language: sounds captured from radio and the street, synthetic voices, guitars, and electronic sequences intertwine in compositions that move between art rock, minimal wave, and more industrial directions. This collection aims precisely to reactivate that imaginary. The vinyl is accompanied by a risograph fanzine that restores the project’s visual dimension: collages, photographs, and graphic materials reflecting the same experimental attitude found in the recordings. Sound and image move together, as parts of a single expressive device. In a Secret Room offers access to a hidden space where interference, noise, and intuition take form without mediation. Not a nostalgic operation, but a re-emergence: a living archive that continues to generate meaning in the present.

Diffuse Reality presents TOBAS 005. We welcome Kushkusshhh with Hollowed Memories. A deep, hypnotic and powerful LP. Stellar sounds that awaken all your senses, a constant hypnosis, immersive from the very first track, with textures and atmospheres that take you on a rewarding journey into your most inner self. Available on 12" vinyl and digital. Prepare yourself, we're in this journey together.

2026 Repress

Trickpony rightfully return with their sensual sophomore record, a six track tip of downtempo anthems elaborating on the sonic blueprint established through Pillow Talk (STEP11). Contemporary trip hop revivalists at the core; the trio specialise in new age pop collages, stripped, subbed and dubbed for your pleasure. With whispered secrets tangled over atmospheric decay and hooks that tug at heartstrings, the trickpony DNA is embedded deep in the musical discourse; “24/7 Heaven” elevates even the most devious to a divine higher place.

From top to tail slung breaks crash like waves, rolling and seeping into opulent synthesis which fills the room. Sometimes music can say a thousand words without a single lyric; Ripple and Trick Trick fixating on textural constructions, layers of harmonic delight working in unison with forward thinking percussion patterns. Angel and No/Direction delve deeper into a more sparse, stripped back landscape; delayed fragments with room to breathe between vocal stylings that will lodge themselves into your memory one word at a time.

Closing with a psychedelic exploration, Memphis Light derails structure formula and drum&bass starts to feel technicolour. With an understated maturity exuding from all angles, STEP17 offers an introspective assortment of illustrious songs ready to reach into your subconscious.

Zum 40. Jubiläum des ersten Teils des stylischen Actionspiel-Klassikers DEVIL MAY CRY erscheint der Killer-Soundtrack des Capcom Sound Teams - bekannt für seine Musik zur Resident Evil-Serie - spezielle für 180g Vinyl gemastert. Der OST ist eine genreübergreifende Meisterklasse, die von Rock über Techno zu Ambient und weiteren Paletten wechselt. Erhältlich als 2LP-Format mit 34 Tracks auf transparent-rotem und ockerfarbenem Doppelvinyl, sowie als luxuriöses 4LP-Boxset mit den kompletten 73 Tracks auf schwarzem 4fach-Vinyl.

Robert Johnson was an American blues musician whose 1936 and 1937 recordings heavily influenced many, many future generations of artists. Despite the fact his recording career spanned a mere seven months, he is universally recognized as a master of the Delta blues style, one of the earliest-known styles of blues emerging from the Mississippi delta in the early twentieth century.

This second compilation of the King of the Delta Blues collects sixteen recordings previously available on the 78 rpm format and includes recordings of two Johnson songs that have since become blues standards: "Sweet Home Chicago" and "I Believe I'll Dust My Broom." In contrast to the deeply emotive songs released on the 1961 album, many of the tracks on this volume display Johnson's lighter side. In 2003 the record was ranked #424 on Rolling Stone's list of 500 Greatest Albums of All Time.

Whether he really needed to sell his soul to the devil at the crossroads to reach these great heights, we'll never know...

King Of The Delta Blues Singers, Vol.2 is available as a limited edition of 1000 individually numbered copies on yellow vinyl and includes an insert with liner notes by Pete Welding.

Amid rusted transistors and owner manuals blurred by dust, Rogelio Serrano rescued abandoned vintage synthesizers from Mexico City's flea markets. These devices, revived by a Japanese technician based in the capital, returned to life with electric pulses, becoming accomplices in nearly clandestine recording sessions at a solitary, remote location called "Ojo de Agua" on the city's outskirts. Sound Cartography is a sonic archive of tracks recorded between 2017 and 2019, which could easily be considered demo pieces, unfinished works, or simply orphaned creations.

One of the UK’s rising talents in recent times, J6 continues his upward trajectory with an enormous four-tracker on underground fan favourites, Locked In Dam. The party starting crew go hand in hand with the refined J6 ethos, as he delivers a dynamite selection of tracks for your record bag. His familiar low end driven sound, combined with tinges of acid and futuristic textures moving between house and modern electro, shapes the ‘Devil Baby’ EP into a cohesive and powerful statement.

The title track is built upon powerful drums and squelchy, spaced-out tones, combined with trippy vocal stabs from Martina, who features on the record. This is prime J6 territory and not to be underestimated. Next up, ‘Biohazard’ introduces mysterious synths that create a transcending atmosphere, shifting the dance floor into the next gear with further twisted acid movements. On the flip side, the Manchester based beatmaker teams up with Ben Gough for ‘Time Capsule’, delivering pacey energy that never lets up, driven by nostalgic tech house drums and icy hi-hats. Rounding off the EP, ‘Emergence’ simmers with an emotive dark energy throughout; if we weren’t dancing with the devil before, we certainly are now.

A certain tip for the tastemakers amongst us, these are four dynamic dance floor cuts to be shared deep within the dark realms of the night.

Our brand new Club Sweat compilation series has landed with Vol. 001 - a meticulously curated vinyl EP that captures some of our favourite releases from 2025.

The A-side features Watermät & James Mac’s magnetic Afro House dancefloor-filler ‘Make A Livin’, followed by the legendary Mousse T. with‘Some Kinda Feeling’ and the future-forward collaboration between Don Diablo & Tseba ‘The Devil Works Hard’.

The B-side begins with the beloved Whitesquare remix of Metroplane’s classic anthem ‘Be Where I Am’, before dropping into Sian’s gritty and hypnotic ‘Get Raw’ with Sacha Robotti & JOPLYN, concluding with Gabss’ atmospheric rework of Crooked Colours’ ‘I Can’t Forget You’.

A snapshot of Sweat It Out’s current influence in the global dance scene what a way to kick off 2026!




d B1: Metroplane, Alex Metric, Aeroplane - Be Where I Am (feat. Daniel Wilson) Whitesquare Remix

Brooklyn Sway's 8th installment arrives from outside with more unexpected debuts and riotous returns to form. Experienced Barcelonian Larry Lan's epic 10-minute opener 'WTNG' is minimal goes post-punk, repurposing well-known, undisguised lyrics into an aggressive take on early Perlon and explanation enough for his recent album drop on Cadenza. BKS vets N/UM return with 'A Free Woman in Queens' showing off a reduced side of their sound adjacent to mid-00s minimal with plenty of character, its stripped intro giving way to a fuller, dubbed-out second half, with the cheeky vocal and instrumental touches joined by a swelling pad. Featuring spoken vox from Mari Blue and the debut of BKS co-head Asha Jasz alongside DeWinter and Jay Prouty, 'Acid in Your Coffee' takes the dirtier route, with layers of zapping electronics, an insistent single-note acid bass, and synths drifting between tones and textures all veering off like its vocals before eventually returning to center. LA/Bucktown scallywag $coe brings it home with 'The Devil is a MF Liar', an acid jam whose profanity-laced vocal samples don't require divine intervention to decipher. Bookended by a pair of interludes, the first on the power of repetition and the last in memoriam BK legend Big Sexy in his own words, and again featuring striking artwork from notable NYC street artist Fumero, BKS keeps that Sway from going astray.

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

Zum ersten Mal seit Jahrzehnten erscheinen DJ Shadows legendäre Mo’Wax-Singles wieder offiziell – in einem umfassenden 8-teiligen Vinyl-Set, das mehrere Stunden bahnbrechender Musik enthält.
Die Aufnahmen wurden in den Abbey Road Studios von Miles Showell halbspeed-remastered und klingen so klar und kraftvoll wie nie zuvor. Die Box enthält zahlreiche bisher unveröffentlichte Mixe und Edits sowie eine exklusive Bonus-LP mit den ursprünglichen Demos von vier Tracks – ein einzigartiger Einblick in die Entstehungsgeschichte des Shadow-Sounds.
Abgerundet wird das Set durch neue Fotografien von Brian Cross (B+), DJ Shadows langjährigem visuellen Wegbegleiter.
Ein essenzielles Sammlerstück für Fans, Vinyl-Liebhaber und alle, die die Wurzeln moderner Beat-Kultur feiern wollen.

"This box wasn’t made for the casual listener,it was made with the hardcore fan in mind. I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was
made with this philosophy firmly in mind. I had fun locating and resurrecting these songs, some of which still feel close to my consciousness as though they were made yesterday.”
-DJ Shadow

2026 REPRESS + DOWNLOAD

Years Of Denial is back on Veyl with their second LP 'Suicide Disco Vol. 2'. The follow up to 2019’s 'Suicide Disco', the duo makes a triumphant return, elevating their distinct sound which fuses dark wave, goth, newbeat, post-punk, EBM, and techno. The LP features 12 tracks all written and produced at Ark of Noise studio, located miles away from the polluted noise of social turbulences, immersed in isolation, creative indulgence, and poetic writing.
From the start, 'Art Break' provides the perfect warm-up, gently cleansing the palette and re-introducing us to Barkosina’s lustful vocals with a slow-burning pace that only marks the beginning. 'Wrong' picks things up, injecting a dose of body music for an infectious piece that bleeds into 'La Pendue' which keeps the energy rising. Next up, 'Mr. Guillotine' delivers a razor sharp edge, carving out a fresh post-punk feel which then brings us to the brooding, 'Never Satisfied'.
'Lover’s Crime' marks the halfway point of the record and one of the album’s standout tracks. Undeniably seductive with an ominous feel, the pair keep this mood going with 'City Lights' and then smash things open with 'Dancing With Demons'. After the devious message sent with 'The Letter', we are submerged in the romantic melancholia of 'Death Of A Lover' and 'Regarding the Pain of Others' before closing things out with 'Social Anxiety' which features vocals by longtime collaborator Broken English Club. The result is an immersive journey through the pair’s self described, Suicide Disco sound, and further builds on the Years of Denial form and legacy.

Unpolished, refined, energetic club "mutations" Rantzen and Spinoglio go way back in time as old friends, and we are reuniting some of their old and recent pieces to forge a strong atmospheric dance LP with a unique flavor. Luen is also contributing strongly through her collaboration with Andy on " Black cloud". Some tracks in this release were made 15 years ago and some others were made in the last 5, but who cares ? Enjoy the music

Sie wurde in den Trümmern des Zweiten Weltkriegs geboren, als einziges Mädchen unter sieben Kindern, und man nannte sie Pinky. Sie wuchs in den windigen Ebenen des Texas Panhandle auf, sang im Kirchenchor und träumte davon, eines Tages auf der Bühne zu stehen. Mit gerade einmal 18 Jahren traf sie die Liebe ihres Lebens und heiratete bald darauf den Rodeo-Cowboy Cole Tex. Da sie beide den gleichen Durst nach Abenteuern teilten, bereisten sie gemeinsam die Landstraßen. Er schrieb die Songs und Pinky sang sie, wobei sie in kleinen Roadhouses und Honky-Tonks in den gesamten südwestlichen Bundesstaaten auftraten. Dies sind einige der wenigen Aufnahmen, die noch existieren.

Fides Records is ready to introduce the 4th chapter of the10-year anniversary series with. X4 leans into momentum and contrast with its hard-groove pressure, dub-chord depth, and melodic release that showcases a side of the label where functional club tools and emotional storytelling sit naturally together.

Side A begins with Rebecca Delle Piane’s “Genomica”, a driving techno train powered by tightly layered elements and rhythmic tenacity, marking another step forward for one of Italy’s most exciting rising artists. Rorschack follows with “Primeriti”, weaving dubby chords and rolling basslines around a haunting female vocal. Closing the side, Berlin-based SLV lands with “Ritual Resonance”, a hard-groove banger that fuses percussive urgency with dub-chord sophistication.

Flipping to Side B, OFF GRID’s “The Roots” stands out as a colorful, mental hardgroove tool: elegant in detail yet built for drive, striking a heady balance between control and impact. Francesco Devincenti’s “Joanaz” brings trance tinged melodic techno with harmonic depth and cinematic intensity, opening the door to a more emotive register. The record closes with Endrew’s “Alright”, a powerhous

Following his incendiary debut, Ingo Hammer delivers four devilishly great burners on Industrial Lies.

This time, his satanic majesty drops the sleazy, pulsating ‘Kneejerk’ and ‘Insane’, rewires body music with the robotic ‘Chinois’ before riding the D train to hell and back on the breakin’ ‘New York’.

Each one is a guaranteed dance floor 'hammer'.

DJ support for ‘Hammer Time’ came from I-f; Intergalactic Gary, Legowelt, Marcel Dettmann and Sunil Sharpe.

Limited edition of 100 vinyl copies.
Written & Produced by Ingo Hammer
Mastering by Tom Haunstein (Rand Muzik)
Artwork by Jonny Costello (Adult Art Club)

Industrial Lies
Industrial Lies is the offshoot label of Dublin house and techno imprint in First Cut.
Established in 2023, the label is named after the B-side of Cybotron’s electro classic ‘Clear’.
Industrial Lies shines a light on left-of-centre music from the past and present, including proto-Chicago house, ebm/industrial, electro and adjacent sounds.

Crate digger and music enthusiast James Endeacott compiles ‘Unlock Your Mind With Morning Glory’ for Two-Piers Records – A glorious heady mix of the weird and wonderful eclectic music from his radio show ‘Morning Glory’

“One weekday afternoon towards the end of 2017 I sat in The Lyric pub on Great Windmill Street, Soho with my dear friend Raf. I’d just finished another of my weekly Soho Radio shows and was starting to think about the next one. Raf had been on as a guest playing some of his favourite tunes of the day. We had a few drinks, told a few stories and started to plot and scheme. It was always a dream of mine to have a daily radio show. Radio had always informed and excited me from my early teens listening to John Peel under the blanket when I should’ve been either sleeping or revising right up to the present-day musical excursions of NTS, WFMU and numerous internet based stations.

We decided to speak to Adrian and Dan who ran Soho Radio to see if they’d be up for us doing a daily morning show. To our surprise they were into the idea and within 5 minutes Adrain came up with the name Morning Glory. We all liked it. We were all excited. It was all systems go. In December 2017 Raf and myself started a daily 2 hour show. We did the show together, got guests in and the musical policy was whatever we felt like that day. After several months Raf found the mornings too much. Off he went into the distance occasionally coming back with a smile, and a bag of new music. I carried on alone and then suddenly in March 2020 the world stopped, and we went into lockdown.

We set up in my house in Catford, Southeast London and carried on. The show became 3 hours a day and I started to invite friends, record labels, record shops, bands etc.. to supply me with hour long mixes that I played every day. The show took off during this time. My musical tastes expanded as I spent all day long searching for new sounds from around the globe. People started to send me more and more music. I became obsessed with the show. The audience started to take to social media and ask for certain tracks or artists to be played. I got listeners to make me mixes to play on the show and I did several phone interviews with musicians while playing some of their favourite tunes.

I was grateful that Soho Radio left me to my own devices. They never told me what to do or what to play – they trusted ma and I trusted my instincts.

The music on this compilation is not a ‘best of’ it’s just how I felt when I compiled it at the start of 2025. Apart from a couple of tracks they are all things I’ve come across since the show started in December 2017. If I did a list of tracks now I’m sure it would be completely different. Surely that’s the point. We never stick in one place. We are always moving and searching. Always trying to unlock our minds. Put it on. Take your time and let it take you somewhere” James Endeacott 2025

D’Angelos bahnbrechendes Album „Voodoo“ mit den zeitlosen Songs „Untitled (How Does It Feel)“ und
„Devil’s Pie“ erhält dieses Jahr zum 25-jährigen Jubiläum eine besondere Hommage in Form von exklusiven
Designs in limitierter Auflage.
Anlässlich seines 25-jährigen Jubiläums ist diese Veröffentlichung auch eine Hommage an das Vermächtnis
von D’Angelo, der Anfang dieses Jahres verstorben ist, und ehrt seinen Geburtstag am 11. Februar, ein
Datum, das für Fans und die Musikszene weltweit nun noch bedeutungsvoller ist

As Poorly Knit completes it's first arc of the Sun, it's children become four, as a new mini LP is born.

Tending to his crop with dreams of rotation, Bruce sows and scythes four new grains in the porky mill. Of this strange fruit, that further explores his increasingly familiar, hyper-real and sonically surreal work within this current “movement,” he finds his foothold once more in a wild world intensity: fear and fury grappled in equal measure.

What's more, in celebration of the plentiful harvest thus far, (let alone in the interest of seed diversity), Bruce invites four fellow reapers to the farm, offering their recipe from the spoils of the label's yield:

Vancouver based Brit-abroad, dj_2button pulls apart 'The Hand,' with his 'Accidental Mood Mix,' to be reborn as an Odyssian 13 minute stomper: "a fight of emotions, of light and dark; in quiet protest to the incessant fear mongering that slowly numbs us on a global scale." Balearic shores can be seen glimmering in the distance, whilst you are dragged by part man part (very horny) bull into the depths of dancefloor madness.

re:ni proves she is the captain of her own ship as sweet SSRI numbness billows in the sheets and fraying, dubwise halyards tether and tear through her devilishly elegant 'sertraline queen mix'. polyrhythms plotted and percussion plundered; the vocal from 'Golden Water Queen' sounds oh so sweet in the claws of its new Regina.

Hotly titted deep house reviver, fka boursin empties clips with their bubblegum 'boomkat mix,' of 'The Price,' swivelling the original's brash and bawdy bonce, to face a 120 reality we all need to wake up and start sniffing. Sprinkled with trauma on an icing of a bassline more than a little rood, boursin is packing enough cake for the whole function to take home in (dreadful) goody bags (and even allowed compression in the mastering - mental).

Last and indubitably not least, from lying somewhat dormant in the depths of UK dance music legend, none other than flippin' Untold (!?) rises to seal the release with typically megalithic prowess. Proving he was just resting his eyes for a bit, his 'A1 Mirabelle Mix,' weaves and whips an otherworldly beauty, technically tantalising 'Dham's Jam' in adornments both sour and sweet. It's nothing short of a cloaks and daggers banger, primed for the darkest of dancefloor cosmic moments, and serving as a little less-than-warm-reminder that Untold’s presence in the world of dance music is crucial as ever.

Frankly, if you couldn't tell from all the verbose waffle, they have all absolutely smashed and finessed it: they were all approached after expressing a real resonance from the previous releases and it's such an honour to have them and their fantastic visions on the label.

Available digitally or on high quality cassette, the final chapter of the Poorly Knit's first act has been woven whimsically into the fraying folds.

a A1. It Ain’t Over Till… 04:37
b A2. Wesley’s Sniped All Our Bleeding’ K (Re-Vamped) 05:40
[c] A3. Rockfall [05:06]
[d] A4. You Were Right [10:00
[e] B1. The Hand (dj_2button's accidental mood mix) [13:07]
[f] B2. Golden Water Queen (re:ni's sertraline queen mix) [05:36]
[g] B3. The Price (fka boursin's boomkat mix) [08:30]
[h] B4. Dham's Jam (Untold's A1 Mirabelle Mix) [09:42]

[a] A1. It Ain’t Over Till… [04:37]
[b] A2. Wesley’s Sniped All Our Bleeding’ K (Re-Vamped) [05:40]
[c] A3. Rockfall [05:06]
[d] A4. You Were Right [10:00
[e] B1. The Hand (dj_2button's accidental mood mix) [13:07]
[f] B2. Golden Water Queen (re:ni's sertraline queen mix) [05:36]
[g] B3. The Price (fka boursin's boomkat mix) [08:30]
[h] B4. Dham's Jam (Untold's A1 Mirabelle Mix) [09:42]

Following the last blend of four timeless cuts compiled into TRIX002 (2023), Party Tricks returns with a new VA that maps the outer edges of UK breaks and garage on the A-side, and a US-tinged psychedelic journey on the B-side.

Stitched with fleeting lines from The Usual Suspects (“The greatest trick the devil ever pulled…”), A1 Trick or Treat - Trip To The Dark Side dives into the darker shades of the UKG spectrum, setting the opening tone with a mysterious heavy stepper.Continuing down this road, Sheethanger – Discostep flips the energy with a dubby, and irresistibly groovy breakbeat workout, complete with spicy vocoders and a kinetic drive engineered to lift every dancer off the floor.

On the B-side, the focus shifts toward the psychedelic zone of the US niche. A Terran Collective - Mercury Uno rolls out in low gear under acidic, foggy tension, gradually accelerating as it climbs toward a hazy, hypnotic eruption.Finally, Earth Trance Interlude - Moonshine delivers an after-hours breaks masterpiece - the right anthem to close the record on a bright and uplifting-melodic-tribal note.

From Germany to Montreal, a cross-continental dialogue takes form as Oovation and Jares unite for The Shift, a sweeping coalition of emotion and rhythm marking both artists’ debut on W. Anchored in cinematic depth and driven by kinetic pulse, The Shift stands as a powerful first statement, further expanded through stunning reinterpretations by Coeus, ACNØR, and Turker.

The original take of “The Shift” finds Oovation & Jares constructing a restrained groove before thumping kicks and meandering blips send us off on a highly narcotic affair. With the foundations in place, a swaying bassline takes control of the piece, infusing it with an irresistible sense of movement. As we venture deeper inside the rabbit hole, a lush arpeggio rummages across the piece, taking us closer to an airy break where echoes osurrender to a new directive.

For the first reimagining, Coeus drives “The Shift” into more dangerous, sensual territory. Built on a thunderous rhythmic foundation, the Serbian producer laces the mix with ghostly vocal traces and a relentless synthetic tension. The result feels cinematic in scope: an after-hours odyssey pulsing with urgency and redemption, where desire and danger move in lockstep.

Next, ACNØR transforms The Shift into a perpetual motion device where tension breathes and recedes like a living organism, shimmering under dim light. Reflective and transportive, this version feels like moving through mirrored corridors. Each twist refracts a new emotion, a new identity, culminating in a tantalizing entropy.

Finally, Turker closes the circle with a radiant reconstruction that leans toward transcendence. Textured percussion, raspy stabs, and a gleaming lead line spiral upward, pushing “The Shift” toward a horizon bathed in gold as vocal phrases drift in and out of focus, painting the mirage in full technicolor for a finale that feels both cathartic and luminous.

Phase alternations arise where overlapping waves diverge in phase, revealing the hidden
geometry of sound. A phenomenon that Peryl deliberately allows to happen — thus placing
the physical and technical aspects of music at the center of attention. His new album
builds on a fundamental idea of electronic music — but reimagined.

The person Peryl and his needs steps into the background during production —
functioning merely as a channel that intuitively receives and transmits what long-studied
machines, in dialogue with the subconscious, collectively bring to the surface.

The result is a collection of nine tracks, like emanations of precisely crafted analog
synthesis. No sound returns the same way twice. This fragility fuels the urgency — a
creative necessity to listen, to commit, to allow form to arrive before it dissolves again.

Rhythm is no longer on the grid, but a series of small shifts, offsets, and delays. Loops fall
slightly out of sync. Deviation creates friction, and friction creates energy. Through the
layered interplay of phase-driven effects — chorus, phaser, flanger — the sounds begin to
breathe in alternate rhythms. Hollows emerge. Swells fold into one another.

Challenging these swells is an essential part of Phase Alternations. Effects come alive in
subtle shifts, industrial textures whisper melodies, folding and unfolding in rhythms that
emerge through their own logic.

Peryl presents the result of an experiment: the sound itself chooses its form.

Following the success of his recent releases, Mendekua and Electro Bloody Music, Barro’s honcho Nöle demonstrates that he is at one of his creative peaks with this new four-track EP.

The fortunate owners of reference number thirteen will not only take home a substantial slice of vinyl but also a powerful teleportation device that will instantly send them to the dance floor. Demencial chico acelerado features four tracks of techno infused with elements of industrial and EBM, as dark as it gets.

The EP kicks off with the enigmatic “IDDDQD,” a complex industrial techno track packed with sharp synths, devastating basslines, and an incredible punch.

“Lemmy Dust” comes next showing no mercy from the moment that the powerful kick hits, captivating you with its hypnotic sound and not letting go until you’re exhausted.

Cinematic as its name suggests, “Xenomorph” is a claustrophobic industrial techno powerhouse, brimming with intense EBM nuances that are both unsettling and frenetic—perfect for dancing with your hair standing on end.

Last but not least, “Ghost Dancer,” is one of the most purely techno tracks, showcasing haunting synths mid-way through. It’s heavy material fit for the dance floor.

Without a doubt, this demencial accelerated kid knows exactly what he’s doing.

The above references have already been supported by artists such as Dave Clarke, Phase Fatale, The Hacker, Lokier, NX1, Unhuman, Alienata, Reka, and many more.

Text by : El Garaje de Frank

With this new chapter, Blackwater Label presents an EP exploring the frontier between ethereal, electronics and sonic horror. Two tracks move like ambiguous presences, evoking atmospheres suspended between dream and nightmare, body and shadow. "Hypnoptera" is a journey through dense textures, oblique frequencies and subtle pulsations that seep into the listener, keeping alive the tension typical of the label's most radical productions. A work that does not seek comfort, but disorientation: a sonic ritual digging into the dark matter of imagination.

The A-side opens with "Gomma", a sonic mass that deforms, viscous and elusive. Gomma moves through dry hits and elastic reverbs, a living organism mutating at each beat. The atmosphere oscillates between tribal and industrial, like a ritual dance seen through distorted lenses. A track that fascinates with its physicality and hypnotic nature, suspended between attraction and unease. "Dulcis in Fungus" descends into a humid and cavernous sonic landscape where sweetness and decay coexist. It layers ethereal drones and underground pulses, creating an environment that feels both organic and alien. The piece develops like the growth of a fungus-silent yet unstoppable, seductive and corrosive at the same time.

LIMITED QUANTITIES TO 100

LWS returns to Parris and Call Super’s can you feel the sun imprint with All Of The Chaos. 4 mutant rollers in his
now-singular style, sharp constructions meticulously designed with club drama and devious rave energy.
A year on from Palloon, and Edinburgh’s LWS has certainly left his mark. His inner metronome ticks differently, ornate
club constructions snarling with hypnotic fervour. His music has been ubiquitous across clubs and festivals over the
past twelve months as a result, and on his second EP for can you feel the sun he proves there’s still plenty left in the
tank.

Opener Many Requests goes galactic, a wide-eyed entanglement of melody and rhythm that gallops tough yet supple
through an ever-shifting landscape; an inevitable deconstruction ensues, before the salivating return sets us back on
course. Gooly shifts darker, a looping roller with sultry swagger that deviously maintains its shuffling delirium with
uncanny nous. Sharkbait on the flip cultivates a jaw-gnawing tension, vibrantly edging towards that ecstatic release
with unrelenting ease. Closer All Of The Chaos goes weirdest, a chromatic safari swivelling on its mechanised 2 step
through a carousel of unhinged sound design to its conclusion; signing off on yet another collection of future-shock
missives from LWS.

Early DJ support from Call Super, Objekt, Pariah, Surusinghe, Ploy, OK WIlliams and Pangaea.