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Lance Ferguson (The Bamboos, Menagerie, Rare Groove Spectrum) presents his lush Exotica inspired 2016 album on LP for the first time in a limited edition deluxe gatefold sunset swirl coloured vinyl edition, with each pressing having a unique pattern.

For fans of Air, Martin Denny & DJ Shadow.

'The Double Sunrise' is a re-imagining of Exotica seen through Ferguson’s own lens, which includes Pop and Hip Hop elements plus samplers, synths and drum machines thrown into the mix. That combination of beats and lush cinematics owes as much to Exotica pioneer Martin Denny as it does to Air and DJ Shadow.

Guest vocalists include Melanie Pain (Nouvelle Vague), who brings a sweet Francoise Hardy and Jane Birkin influence to her songs, and Australian singer Meg Washington. As well as her own successful career, Bamboos fans would know Washington from her vocals from “The Wilhelm Scream” and “King Of The Rodeo”, as well as “Beautiful Trash” from the 2011 Lanu album ‘Her 12 Faces’.

Ferguson's own instrumentals are also gems of lush, nostalgic delight.

Reviews for ‘The Double Sunrise’

“Even with the clear influence of South Pacific exotica, this second LP is still typical Ferguson: tight, snappy and doused in retro airs.” - Rolling Stone Magazine

“Bamboos supremo Lance Ferguson uses South Seas exotica as a jumping-off point for a record that deftly crosses datelines. Giddy effervescent soundscapes such as “Tiny Dots” sit back to back with breakbeat grooves like “Nightmarchers””. The Age

“This is one of those summer albums you will return to every year. Stunning.” The Daily Telegraph

“The concept for The Double Sunrise is very specific, but it's executed brilliantly...It's one of those records that evokes a place and a feeling that most of us only ever dream about.” - Double J Radio (Feature Album)

Bristol's Sam Binga & Addison Groove have been friends and collaborators since their 2013 'BS3' EP, released on Modeselektor's '50 Weapons' imprint. This project, the third full-length on Binga’s Pineapple Records, is born from an intense 72-hour session at the legendary Devon Analogue Studios, where the pair were able to explore their mutual love of uptempo machine funk - whether that be Detroit Jit, Chicago
Boxjams or Turbo Electro.

Three days of intense creativity across classic drum machines, vintage analogue synths and rare hardware effects resulted in a collection of raw but powerful audio building blocks - and over the past two years, the pair have been gradually shaping them into what is now a complete project - the BAGS INC album. Across 12 tracks, Binga & Addison explore that exciting space between 140 and 150 bpm - but while it's fast, it's not 'hard'; as you'd expect from the creators, it's still got that wiggle, and the all-important cheekiness for which they're known.

Mastered by Bob Macc @ SC Mastering and cut at the Sony plant in Europe,, the album has immersive and musical detail to warrant deep listening, while maintaining that essential club energy.

2026 Repress

Chlar returns to his Primal Instinct label with 'Modern Survival'

Following the widely praised Funk Assault (Chlar & Alarico) 'Minimum One Post A Week' EP, which kicked off the Primal Instinct label last summer and won the support of the likes of Rodhad, Tasha, and Luke Slater, as well as routine plays from Sarah Story on BBC Radio 1, Chlar now returns to his imprint with solo venture 'Modern Survival'. While the first Primal Instinct release saw references to artist urges and behaviours on social media, this next instalment explores a modern recontextualisation of humanity's hierarchy of needs in yet another high-concept EP.

First up, 'Internet Soulmate' boasts a crunchy bassline as its drum work chugs along the track playfully. The groove twists and turns before the hypnotic and tribal 'Supermarket Hunting' continues with sounds of nature, loopy rhythm and syncopated bleeps.

On the B-side's 'Body Control Officer', human-made grooves intertwine with machine-like thrum, synths whirring and zapping, while 'Competitive Influencing' takes off with rolling percussion, subtle whistles and distorted vocal one-shots. Closing out another stellar offering from the Primal Instinct frontman, Chlar brings the dark 'Scout My Algorithm', a brooding slow-burner offset by smooth arpeggio snippets and warped slices of digital noise.

"In an era where technology entwines our everyday existence, where the virtual realm shapes our interactions, and where the pursuit of influence takes centre stage comes an EP that delves deep into the modern tapestry of human existence. 'Modern Survival' is not merely a collection of songs and visual clips, but a poignant reflection on the intricate dance between our primal instincts and the brave new world we navigate today. The EP invites listeners on a journey of self-discovery and reflection, prompting them to ponder the fundamental essence of our existence in an environment of fast-paced technological evolution." - Chlar

Norwegian folk artist Juni Habel's latest album Evergreen In Your Mind is largely an ode to letting go, and at it’s inquisitive heart can be found ‘Pearl Cloud Song’. An instrumental four-and-a-half minutes, it came from a guitar tuning that Habel stumbled upon, the song tumbling out of the discovery on its own accord. Lush and vibrant and bristling with life, it’s a beautiful backdrop to stepping into nature, bringing together a simple drum machine pattern, steel-string guitar, pedal steel, considered effects, and the flicker of a voice somewhere in the far-off distance. Juni says "it gives the sensation of flying." With such ingredients it was rife for a remix.

'Pearl Cloud Song Reformations' is a very limited 12" (also available digitally) which features two remixes/reformations from Tom Sharkett and Minotaur Shock and also includes Juni Habel's original version. There will only be 200 ever made.

Tom Sharkett is a producer from Manchester, now based in Todmorden. Having cut his teeth as a founding member of synth-wave band W. H. Lung. Tom has gone on to forge his own path as an electronic artist with music on Optimo Music, DFA and Test Pressing. His work leans towards dark, wonky and psychedelic electronics and his edit of LCD Soundsystem’s ‘Home’ grabbed the attention of James Murphy which led to an official DFA release. The cosmic choogle of his 'Pearl Cloud Song Reformation' is Sharkett's first remix committed to vinyl since.

Minotaur Shock is the long-standing electronic project of Bristol-based producer David Edwards. With a discography spanning labels like 4AD, Melodic and Bytes, Edwards balances pastoral charm with IDM sensibilities, creating soundscapes that are as much about the heart as they are the head.

There are records that follow the rules, and others that rewrite them in real time. With O R G A S M A N I A, Byron The Aquarius returns to Skylax with a deeper, freer and more unpredictable statement — where jazz instinct meets raw machine funk, and structure dissolves into pure feeling. Rooted in the lineage of Detroit yet never confined by it, Byron operates in that rare zone where house music becomes expression rather than format. His sound doesn’t chase functionality — it breathes, it stretches, it resists. The EP opens with Back 2 Zion (Tomorrow), a spiritual and meditative journey built on loose drums and luminous chords, carrying a sense of elevation — early morning music where the dancefloor begins to think again. Enter the Co$mos (Fool) pushes further into abstraction, with drifting synths and broken rhythms unfolding in a non-linear structure, navigating between Sun Ra’s cosmic language and Detroit futurism. On the flip, Mr. Captain Crunchhh brings a raw, playful energy — crunchy textures, off-grid swing and an almost improvised groove, alive and unpredictable, a leftfield tool designed to disrupt expectations. Finally, O R G A S M A N I A stands as the centerpiece — hypnotic, sensual and immersive, locking into a deep repetitive groove while evolving in subtle layers, a late-night body experience guided by a sharp musical mind. Across four tracks, Byron The Aquarius confirms his unique position between jazz musician, house producer and sonic storyteller, with a trajectory spanning Sound Signature, Axis, Eglo, Apron and Shall Not Fade, continuing to resonate from Detroit to Berlin and beyond. Artwork by H5 — the iconic studio behind Daft Punk, Air and Vitalic — reinforces Skylax’s timeless and art-driven identity. This is not fast music, this is not algorithm music — this is music for those who still listen. Strictly for the heads. Vinyl only. No repress. Skylax Records.

Norwegian folk artist Juni Habel's latest album Evergreen In Your Mind (BR025) is largely an ode to letting go, and at it’s inquisitive heart can be found ‘Pearl Cloud Song’. An instrumental four-and-a-half minutes, it came from a guitar tuning that Habel stumbled upon, the song tumbling out of the discovery on its own accord. Lush and vibrant and bristling with life, it’s a beautiful backdrop to stepping into nature, bringing together a simple drum machine pattern, steel-string guitar, pedal steel, considered effects, and the flicker of a voice somewhere in the far-off distance. Juni says "it gives the sensation of flying." With such ingredients it was rife for a remix.

'Pearl Cloud Song Reformations' is a very limited 12" (also available digitally) which features two remixes/reformations from Tom Sharkett and Minotaur Shock and also includes Juni Habel's original version. There will only be 200 ever made.

Tom Sharkett is a producer from Manchester, now based in Todmorden. Having cut his teeth as a founding member of synth-wave band W. H. Lung. Tom has gone on to forge his own path as an electronic artist with music on Optimo Music, DFA and Test Pressing. His work leans towards dark, wonky and psychedelic electronics and his edit of LCD Soundsystem’s ‘Home’ grabbed the attention of James Murphy which led to an official DFA release. The cosmic choogle of his 'Pearl Cloud Song Reformation' is Sharkett's first remix committed to vinyl since.

Minotaur Shock is the long-standing electronic project of Bristol-based producer David Edwards. With a discography spanning labels like 4AD, Melodic and Bytes, Edwards balances pastoral charm with IDM sensibilities, creating soundscapes that are as much about the heart as they are the head.

A 1972 German jazz-rock quintet incredibly tight, fully instrumental, rendered with phenomenal sound engineering. Hammond, Electric piano, tenor sax, bass, drums and percussion locked in propulsive, telepathic dialogue. The spirit of Miles Davis' In A Silent Way meets early Nucleus and Soft Machine.

First repress ever

180g virgin vinyl pressing

Original artwork

The evolution of Andreas Tilliander's moniker TM404 has reached its third stage. The first TM404 album was a heavily self-restricted concept album, live recorded with classic Roland machines. The subsequent album had a more playful vibe, shaped by Tilliander's extensive live touring. This third TM404 album on Kontra-Musik simply tells the story of what he's been up to since. The third part of a musical diary, initiated in 2013. The TM404 venture might have started out as a dreamy acid dub project, more suited for the chill-out than the main floor. But by popular demand Tillander found himself touring big clubs around the globe and the TM404 sound adapted organically. As a result, the album features tracks like Vactro and Rymdeko: fast paced acidic techno tracks in the same vein as classic Plus 8 releases, but with more space echo. Much more. But never fear, fans of the classic warm and bubbling TM404 sound. You'll certainly get yours as well. A substantial portion of this album was recorded in a studio flat in Berlin as part of an artist residency. For obvious reasons, Tilliander could only bring a small portion of his studio gear to this German sanctuary. As a consequence, this album has a more stripped down vibe than its predecessors, which creates more space for Tilliander's glowing melodies. The last track on the album, a loving homage to Kontra-Musik's label boss, is a sublime example. And for the Instagram generation, here's the short version: The album is called Syra. That translates to Acid. You're welcome.

RocAmeriKKKa 3 marks the third and most refined chapter in the ongoing alliance between Flee Lord and ETO—two architects of modern East Coast street rap whose chemistry is rooted in precision, pain, and unfiltered realism.

Building on the foundation laid by the previous installments, RocAmeriKKKa 3 sharpens the series’ core aesthetic: cinematic production, stark lyricism, and an uncompromising portrayal of survival and ambition. Flee Lord’s militant cadence and razor-edged delivery collide seamlessly with ETO’s calculated, introspective bars, creating a dynamic that feels both confrontational and methodical. The result is a body of work that operates like a street manifesto—cold, deliberate, and unapologetic.

The album is elevated by a heavyweight supporting cast. Conway The Machine brings his signature steel-plated intensity, reinforcing the project’s Griselda-adjacent grit. NEMS injects raw, high-energy aggression, while Vel Nine adds sharp lyricism and perspective that cut clean through the production. Starz Coleman and Mummz contribute distinct textures, expanding the sonic palette without compromising the project’s hard-edged identity.

Sonically, RocAmeriKKKa 3 leans into brooding loops, stripped-down drums, and ominous sample work—production that leaves space for bars to breathe while maintaining a sense of tension throughout. There are no gimmicks here—just calculated storytelling, street philosophy, and the kind of lived-in authenticity that defines both artists’ catalogs.

As the third installment, this project doesn’t merely continue the series—it solidifies it. RocAmeriKKKa 3 stands as a testament to consistency, evolution, and the discipline of two emcees who understand that longevity in this lane is built on substance, not spectacle.

The mighty Drumcode machine rolls on.. back again with the highly collectible DC4 Series now on its third volume. The DC4 series showcases a selection of four tracks from rising and established artists within the modern techno scene.

The EP features high-energy, peak-time techno tracks designed for dancefloors.

PNØ is the duo project of experimental vocalist Agnes Hvizdalek and techno innovator Jakob Schneidewind on electronics. They combine minimalistic musical structures with organic improvisations, pure vocal sounds with drum machines, synthesizers and effects
that trigger and manipulate each other’s output. Their vision for the future of music makes them explore crossing points between experimental and electronic dance music. Their first album, «Zakeri», was released in 2015. Since then, they have performed, among others, at ORF Musikprotokoll, Wiener Festwochen, Jazzwerkstatt Wien, Ottosonics, and de/semble.
The album «Hypatia» will be released on June 26th by Palazzo Recordings.

Gradual Isolation started in the early 90s as the musical project of 2 friends, Luc Van Den Bosch and Filip Van Breda, both living in Turnhout, Belgium.

They were inspired by EBM and new wave from the 80s and 90s and saw bands such as the Canadian Psyche as their great examples. With just a few synthesizers, a drum machine and a homemade microphone, they made music that could be described as emotional, and somewhat naive bedroom new wave. If the term emo-wave doesn't exist yet, it should be invented to describe Gradual Isolation's music.

Over the years, many tapes have been filled with their improvisations and about 20 to 30 songs have been more or less completed. They never officially released their music, only a handful of handmade cassette tapes were distributed to friends. They did not go further than a single performance in the local new wave bar ‘The Cave’ in Turnhout in 1991, but the duo stayed together and continues to make music to this day.

‘The Sky Converts’ and ‘Agony By Men’ appeared on Underground Wave Volume 7, and now, for the first time, a full-length LP ‘Remaining Faces’ has been released on Walhalla Records!

Compared to their debut, the band pushes even further the fusion between black metal and industrial electronics, resulting in a colder, more mechanical and chaotic sound. Extreme guitars and traditional black metal vocals are intertwined with drum machines, abrasive synths, and digital noise, creating the impression of a kind of "dehumanized" music, as the title suggests. The atmosphere is dystopian and aggressive, far removed from traditional metal: it does not aim for melody, but rather for a dense and oppressive sonic impact, where everything feels filtered through a technological lens. In short, it is a record that pushes the idea of black metal to its limits by placing it within an industrial, cyberpunk universe, becoming one of the band's most representative works.

Compared to their debut, the band pushes even further the fusion between black metal and industrial electronics, resulting in a colder, more mechanical and chaotic sound. Extreme guitars and traditional black metal vocals are intertwined with drum machines, abrasive synths, and digital noise, creating the impression of a kind of "dehumanized" music, as the title suggests. The atmosphere is dystopian and aggressive, far removed from traditional metal: it does not aim for melody, but rather for a dense and oppressive sonic impact, where everything feels filtered through a technological lens. In short, it is a record that pushes the idea of black metal to its limits by placing it within an industrial, cyberpunk universe, becoming one of the band's most representative works.

MELODI is the debut full-length album from Norwegian artist Sommerfeldt; a collection that takes listeners through the artist's mind, inspirations, experiences, and travels.
With a 20 year track record and releases on labels such as Full Pupp, Paper Recordings, and his other home Badabing Diskos, this album showcases a playful approach to genre, where a tight drum machine groove forms the foundation of a colourful record that touches on ambient, '80s, new wave, deep house, balearic, and downpitched progressive trance from the early millennium (which Sommerfeldt himself highlights as his formative years).

The album has been four years in the making. Several of the tracks were recorded around the world on hardware samplers and synths; bird sounds and ocean waves were captured, processed, and later finalised in his studio in Oslo.
Joining him is a stellar team of contributors; Embla Maria, Sigmund Floyd, Toshybot, Guro Kverndokk, Kristian Solhaug and Magnus JJ, adding outstanding vocal performances, gritty guitars, and oval percussion, the original cover artwork signed by Sommerfeldt's own favourite artist, Quentin Desveaux.

All of this is woven together into a cohesive whole that will make you want to listen again and again.
The six track musical masterpiece is set for physical release May 29th 2026 on a bold orange 12"

Nobody knew. Not the crowd packed into Circolo Kessel that Sunday evening, not even the six musicians on stage. When Giardini di Mirò played on March 19, 2023, it was supposed to be just another homecoming show in Cavriago, the kind of night where you play for the people who’ve known you longest. Some were missing from the audience, though: “Our closest friends stayed home to watch the football match tonight,” Jukka quipped from the stage. “But that’s fine, we’ll deal with them tomorrow.” In hindsight, even Juventus fans who celebrated their 1–0 victory over Inter made the wrong choice.

Seventy minutes in, all the instruments converged into a one-chord riff, driven by the drums and punctuated by screaming guitars. A repetitive rhythm that paired brutal volume with hypnotic precision. Even those at the back of the room felt it: that trance-like state where sound becomes physical. Then the wall of sound collapsed. Guitar feedback lingered in the air for a few seconds before fading into nothing.

This was the last sound Giardini di Mirò made. They haven’t played since, and there are no plans to do so again. But in that moment, nobody knew.

The closing song that night was also the opener of their debut full-length, recorded more than two decades earlier. Its title, A New Start, carries an unintended irony the band would likely appreciate. It is also oddly fitting that their final show took place in the same building where they began. Circolo Kessel, previously known as Calamita, served as the band’s rehearsal space for many years. Yet since their rise to becoming one of Europe’s defining post-rock acts, they had never performed a concert there.

In a fortunate coincidence, Markus Mathis – a longtime fan who had recorded several of their shows before – also captured this final concert using two room microphones and a feed from the mixing desk.

Quasi Casa is the complete, unfiltered document of that night: an “official bootleg” spanning over 70 minutes of purely instrumental music, drawing on material from across their entire career, from the earliest releases to Del Tutto Illusorio. It captures, with striking clarity, the intensity that defined the band’s live performances.

Rather than simply uploading the recording and calling it a day, the band chose to assemble a physical release as a parting gift to their fans. The double LP includes a 16-page booklet with extensive liner notes and visual material.

Melodies everywhere. Hidden ones, obvious ones, the kind that stick around long after the magic is gone. The Fulmars, Hagen’s lo-fi experimental indie outsiders, return with 13 haunting songs on their first proper full-length album. It’s filled with warm lo-fi guitar hooks, carried by Teacherface’s stripped-back Roland drum machine pulse and Fabian Dietz’s soft, delicate vocals. Modern castaways’ music, truly seeing the light, somewhere between the hazy spirit of The Velvet Underground, the playful weirdness of early Throw That Beat In The Garbagecan!, the tender shadows of Dead Moon, and the hypnotic austerity of Party of One. There is a lot of tragedy, all covered in positive agility. Hypnotic simple charmers compellingly recorded by the illusionists behind the delicate Hüüpnootsche Platen Un Kassetten cassette label. If you listen in a row, you will fall into a calm flow, time is on the go, and you so, in The Fulmars circle, disappearing in melodies, those hidden, obvious, glorious. You will fall for the voice, their “rollie” grooves carry you out there, browsing on irresistible humble guitar vibes. Be ready to watch the blue birds fly, it’s a real streetside surprise, for your pleasure, please don’t call it leisure.

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

In the early 1990s, as techno began to emerge from the shadows of New Beat and EBM, a number of tracks crossed over into wider club circulation, helping define the sound of a new era. Among them was “Fingerfoc” by Friends Of Carlotta, the project of German producer Volker Then.

Originally released in 1990 on ZYX Records, “Fingerfoc / Alles Klar” quickly achieved cult status. Both tracks are driven by punchy drum machine patterns, sharp synth stabs and looping vocal fragments, combining the rhythmic directness of New Beat with the emerging minimalism of techno. “Fingerfoc” stands out for its hypnotic repetition and stripped-down structure, while “Alles Klar” takes a slightly more playful, rhythmic approach. Together, they capture the raw, functional club aesthetic of the early 1990s.

Limited to 300 copies on black vinyl and 200 copies on crystal silver vinyl, this new edition of “Fingerfoc / Alles Klar” pairs the original mixes with two previously unreleased remixes and two previously unheard recordings, offering a broader glimpse into the project's output during this formative period.

In the early 1990s, as techno began to emerge from the shadows of New Beat and EBM, a number of tracks crossed over into wider club circulation, helping define the sound of a new era. Among them was “Fingerfoc” by Friends Of Carlotta, the project of German producer Volker Then.

Originally released in 1990 on ZYX Records, “Fingerfoc / Alles Klar” quickly achieved cult status. Both tracks are driven by punchy drum machine patterns, sharp synth stabs and looping vocal fragments, combining the rhythmic directness of New Beat with the emerging minimalism of techno. “Fingerfoc” stands out for its hypnotic repetition and stripped-down structure, while “Alles Klar” takes a slightly more playful, rhythmic approach. Together, they capture the raw, functional club aesthetic of the early 1990s.

Limited to 300 copies on black vinyl and 200 copies on crystal silver vinyl, this new edition of “Fingerfoc / Alles Klar” pairs the original mixes with two previously unreleased remixes and two previously unheard recordings, offering a broader glimpse into the project's output during this formative period.

In the early 1990s, at the intersection of New Beat, early techno and EBM, a wave of raw, experimental club music emerged from Germany—dark, mechanical and often strangely playful. Among its most distinctive voices was Scrot, the project of producer Lars Janzik (Base Scan, Decade V, Technoline).

Originally released on ZYX Records, Scrot’s three seminal singles—“Teufelsrhythmus”, “Der Rhythmusmensch” and “Der Amokläufer”—captured a unique moment in early European techno. Built on hypnotic drum machine patterns, lo-fi sequencing and spoken-word German samples, these tracks combined industrial textures and unconventional vocal treatments with early techno production techniques and a peculiar sense of humor.

Limited to 300 copies on black vinyl and 200 copies on orange vinyl, and accompanied by an exclusive postcard, “Teufel & Mensch” brings together some of the project’s most iconic tracks and remixes, alongside the previously unreleased Knauer Remix of “Teufelsrhythmus”.

More than a retrospective, “Teufel & Mensch” stands as a document of a transitional era—when techno was still forming its identity, and artists like Scrot were pushing its boundaries into strange and uncompromising territory.

In the early 1990s, at the intersection of New Beat, early techno and EBM, a wave of raw, experimental club music emerged from Germany—dark, mechanical and often strangely playful. Among its most distinctive voices was Scrot, the project of producer Lars Janzik (Base Scan, Decade V, Technoline).

Originally released on ZYX Records, Scrot’s three seminal singles—“Teufelsrhythmus”, “Der Rhythmusmensch” and “Der Amokläufer”—captured a unique moment in early European techno. Built on hypnotic drum machine patterns, lo-fi sequencing and spoken-word German samples, these tracks combined industrial textures and unconventional vocal treatments with early techno production techniques and a peculiar sense of humor.

Limited to 300 copies on black vinyl and 200 copies on orange vinyl, and accompanied by an exclusive postcard, “Teufel & Mensch” brings together some of the project’s most iconic tracks and remixes, alongside the previously unreleased Knauer Remix of “Teufelsrhythmus”.

More than a retrospective, “Teufel & Mensch” stands as a document of a transitional era—when techno was still forming its identity, and artists like Scrot were pushing its boundaries into strange and uncompromising territory.

Massimiliano Pagliara celebrates 20 years of music production with a special anniversary compilation on Funnuvojere. The release brings together solo productions and collaborations spanning a rich and abundant period that began when Pagliara acquired his first analogue machines, five years after moving to Berlin from Milan, where he worked as a professional dancer and choreographer.

The compilation features 20 previously unreleased tracks, deeply infused with italo grooves, wonky bass-lines, balearic pads, drama, love, sex, and dreams. These tracks evoke a wide spectrum of moments, ranging from intimate, pleasure-driven home listening to full-blown dance-floor euphoria. Throughout the compilation, one can feel Pagliara’s enthusiasm for discovery—his excitement in encountering new machines and immediately putting them to work.

Pagliara’s sonic identity is unmistakable, present in every track and in the compilation as a whole. Like the facets of a crystal, the music reflects his many nuances while maintaining a strong, coherent core. Tracks such as Waves of Desire pay homage to Dream House, reimagined through contemporary production with cosmic tones and infectious drums. Flicker Of Us reveals a dramatic tension between a rowdy bass-line and melancholic pads, while We Can Touch The Sky features Pagliara himself on vocals, blending synth-pop with elements of new wave and glam rock. Cool Breeze unfolds as a sunlit, optimistic walk through a wide Berlin avenue—funky, warm, and filled with curiosity for what lies ahead.

A notable strength of the compilation lies in its collaborations, which highlight Pagliara’s joy in working with other producers and vocalists. Each collaboration reveals a distinct character: the balearic sensibility of A Journey of Discovery with Gatto Fritto, the French house flavour of Neon Memories with Alinka, the 70s disco inflection of It’s In Your Eyes with the late Aérea Negrot, and the driving techno attitude of Whirlwind with Fabrizio Mammarella, to name just a few.

Ultimately, this compilation stands as both a gift to Massimiliano’s long-time fans and an open invitation to new listeners. It offers entry into a world shaped by beauty, order, balance, and ecstasy—guided by an enduring love for the craft.

Practical Limits of Nihilism is a double album by Das Ding containing 14 brand new tracks. On the album, Danny Bosten searches for meaning in an incomprehensible world in which even nihilism does not offer a way out anymore. Created on self-built analogue synths and drum machines, Practical Limits of Nihilism sees the typical Das Ding sound evolving into new territory, including 4 vocal tracks. The atmosphere varies from dark wave to ambient trance and italo, while remaining true to itself. The artwork on the gatefold sleeve was also created by Danny Bosten and reflects a collapsing world, leading to the emptiness that is symbolised by the white vinyl the album is pressed on.

Fader Cap returns with a hypnotic hybrid of sampled tapes, bucket-brigade delays and hard-hitting drum machine rhythms.
FC invites DJ Mindleaf & The Herbalist (Sleep D in disguise) for an ‘erbed up re-rub on this heavyweight 2-tracker via his label s2i Recordings.

They say the herb is the toothpaste of the soul.

300 units.

n a career spanning over 50 years James Brown became known as a progenitor of funk music and influencing the development of many other genres. All his hit songs, hidden gems and collaborations are now bundled on Collected. It contains 29 songs, including music from his early days with the Famous Flames, the J.B.’s and a wide collection of tracks from his solo career.

Brown began his career as a gospel singer and joined a rhythm and blues vocal group, the Famous Flames, as the lead singer in the 1950s. Later on he formed his own band and released successful singles as "Papa's Got a Brand New Bag", "I Got You (I Feel Good)" and "It's a Man's Man's Man's World". While developing the funk to a new level he created the J.B.’s, with which he scored hits like "Get Up (I Feel Like Being a) Sex Machine" and "The Payback". Brown was inducted into 1st class of the Rhythm & Blues Music Hall of Fame, the Rock and Roll Hall of Fame and Songwriters Hall of Fame. During the years he gained different honorific nicknames including "Godfather of Soul", "Mr. Dynamite", "The Hardest Working Man in Show Business" and "Soul Brother No. 1".

Music On Vinyl proudly presents a special coloured edition of the James Brown Collected compilation, which is available as a limited edition of 7.500 individually numbered copies on gold vinyl, and includes an insert with liner notes.

With their fourth full-length album Signal Fire, GENGHIS TRON awaken us from the post-apocalyptic daydreams of their previous work with a violent—and most welcome—shove. This time, the distant-future reveries we first heard on Board Up The House give way to an unsettling awareness of the present we’re actually living, as our circumstances grow too pressing to try and escape. “Signal Fire envisions a Kojima-esque dystopia of endless proxy warfare,” says vocalist and lyricist Tony Wolski (The Armed), “where the deluge of available information has outmoded the human ability to parse it. A world where those amoral, shameless and cunning enough can literally reshape reality at their whim through sheer insistence." Having roared onto the scene in 2004 with a uniquely demented blend of extreme metal, synthesizer textures, and drum-machine madness, GENGHIS TRON are no strangers to making a forceful impression. But Signal Fire marks the first time bandleaders Michael Sochynsky and Hamilton Jordan –joined again by Wolski and Nick Yacyshyn (SUMAC) on drums, plus newcomer Kenny Szymanski (The Armed) on bass–has captured this level of urgency with such visceral precision. “This album is very much rooted in the now,” confirms Jordan. Album opener “I Am All” sets the table with a chest-throbbing synth pulse as Wolski declares “I’m on a tear, I’m on a tear,” over swirling industrial rhythms and creeping synthlines. “Nothing Blooms in the Hollow” grafts desert-rock swagger onto interlocking layers of dizzying riffs and chants before Wolski steers the band into full-on sonic burnout, like a spaceship careening into the sun. “Born Prey” navigates deftly through Genghis Tron’s classic sonic touchpoints: furious blastbeats, electronic breaks, haunting vocal earworms, and a towering synth-pop crescendo. Meditative interludes like “Like Fotocrom” and “Without Form” deliver shimmering, ominous beauty. And “New Gods” invokes Rabies-era Skinny Puppy to bring the album to a bludgeoning, anthemic finale, as Wolski screams on repeat: “New gods to bleed me out / No new peace / Bleed me out / I love it.” Twenty years into their career, having proven their ability to forge common ground between Ministry and Aphex Twin, between Brutal Truth and Boards Of Canada, between Cluster and Converge, ugly-beautiful new genre hybrids from GENGHIS TRON no longer come as a surprise. What’s remarkable, however, is how Sochynsky and Jordan have taken a project that started in 2004 as a dorm-room genre-pastiche experiment —”a chaotic, wild amalgamation of all our favorite stuff, literally slammed together,” says Jordan—and refined their songwriting craft to deliver a sound that is unmistakably their own.

"Over the past three decades, Philipp Lauer has produced an incredible body of work, deploying a myriad of aliases, both as a solo artist and as a part of collaborative projects. From his hardware-steeped Frankfurt studio Pyramide 2, he has built this catalogue through original material and remix commissions, taking on the full spectrum of electronic music while retaining an unmistakable signature. He combines a hands-on approach to rhythm and composition with a DIY MO and a love of big hooks. The level of expertise at hand seems to facilitate a playfulness that subtly permeates all layers of his work. He's a pop melody natural who just so happens to love fiddling with synthesizers, drum machines, and effects an equal amount. All of these qualities are exemplified on "Embalmed In Martino": Lauer's four-track ode to the Belgian Martino sauce, a spicy tomato-based condiment, and arguably the essential ingredient to top off the namesake raw meat sandwich. On "Embalmed", which makes use of instrumentation that would fit right in on an early eighties Manchester cut, and "Martino", where a sturdy, electroclash flavored arp bass provides the stamina, a slew of big and small riffs easily work their way in, thirsting for our ears. On the other side, "Transactional" combines Miami basslines and similarly electro-fundamental twinkling synth work with a flanger-laced 4/4 beat, while "Don't You Know" features soaring synthwave patterns and the only vocal samples on the EP. Both sport rich arrangements as well, right down to the cowbell overdubs. Lauer's often lauded for his "summery sound". In this light ALT026 lands right on time - yet we might disagree here, as it's suited for all seasons, and all terrains, both the shiny festival grounds and the dim-lit club floors."

* A highly influential and sought-after benchmark dub LP, originally released on the Jah Works label in 1995.

* Produced by the late Rej Forte AKA Jah Rej, who was one of the most creative minds from the UK reggae and dub scene from the last 40 years.

* The album features recognisable tracks from the Jah Works cannon, but dubbed into oblivion with special effects galore. All tracks played by humans, with the exception of a drum machine.

* Dub Crusaders feature members of Revolutionary Dub Warriors (On-U Sound, Ariwa), and Radical Dance Faction.

* Recorded at Channel One under the supervision of Martin Campbell, whose vocals feature twice on this set.

Luis Malon returns to Overthink Records with a 4-track EP.

Four cuts rooted in his distinctive, functional sound.

Driven by raw drum machines, acidic lines and precise sequencing, the release moves between techno and electro with a direct, dancefloor-focused approach — tight, hypnotic and built for late hours.

A Side
Amadeo 85 delivers a powerful, modern funk track crafted for dancefloor lovers, driven by an uptempo drum machine groove, a catchy analog Moog bassline, and vibrant synths , all beautifully contrasted by the classy, sophisticated vocals of Ivan Makvel.

B Side
The mighty Ceeofunk Band is back with a brand new single, featuring the smooth Zackey Force Funk on vocals and the icy Amadeo 85 on vocoder.
Dive into this mellow boogie groove—made for everyone out there spreading love and funk in these troubled times.

Sometimes the title of an album tells you everything you need to know. Laurence Pike’s Possible Utopias for Jazz Quintet is like that: The music within represents a search for freedom, potentiality—liberatory strategies that transcend the ego and the solitary, atomized figure.

But in this case, the album title is also a red herring, because there is no jazz quintet here—just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits.

And the results, strictly speaking, aren’t really jazz, though they incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. They are some other thing, cognizant of genre but never beholden to it. Again, we’re talking about a search for freedom here.

The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings—including four albums for the Leaf label between 2018 and 2024—but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community’s Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003; and even post-punk titans Liars, whom he joined in late 2018.

Of his first album for Balmat, Pike says, “My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealised culture of the future, or even another world, utilise musical language when the conventions of style and marketing are no longer a factor in music making?”

That inquiry, he says, connects to his “guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously.”

Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces—in the ruminative piano of opener “Guardians of Memory,” for example—but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads.

Pike’s imaginary quintet is hardly without precedent; it’s a continuation of concepts floated across Jan Jelinek’s Loop-Finding-Jazz-Records, Burnt Friedman’s many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM’s catalog in the late 1970s and 1980s, which Pike says have been integral to his development since he was a teenager. Possible Utopias for Jazz Quintet is a point in a continuum, a voice in a conversation, a question with no obvious answer: How can the search for otherness in music manifest something true about ourselves?

If a job's worth doing. QED Recordings boss Thomas Cox takes the helm for three very different tracks that arrive united in their refusal to follow the rules. 'Saboteur' glories in stompy drum machine action and handclap snares, wielding a hefty, chunky funkiness. 'Boxcutter' is a nice vignette of looped up hip-hop beats, while 'Lizardbrain' is a nicely frazzled bleep workout that manages to be quite playable but also slightly eccentric. All three are good stuff, from a label well worth keeping a regular eye on.

Disco figurehead Purple Disco Machine celebrates his return to the White Isle and forthcoming Pure Ibiza residency with the release of the appropriately titled ‘Disco Cherry’. Drawing on the elegant, unmistakable energy of the legendary Ibiza nightclub, the Grammy Award winner delivers a historic first - a release dedicated to a Pacha residency.

Sampling the 80s Italo-disco classic ‘Walkman’ from Kasso, the track embodies Pure Pacha’s feel-good mantra and instantly captures that effervescent feeling of confidently strolling through the streets of Ibiza. Layered with irresistible energy and punctuated with a subtle but effective call to ‘party’ weaved throughout the mix, Purple Disco Machine effortlessly carries listeners onto the dancefloor. Through driving rolling drums and that signature funk flair, the multi-Platinum award winner melds production precision with timeless emotion in a way that only Purple Disco Machine can. The Dresden-born producer has once again assertively stepped into his role as disco’s modern-day ambassador, with this release serving as the cherry on top of a stunning 13-night residency that is set to bring disco back to t

Chins For Lefty is the debut album and first recording by Gichard, a new duo chronicling the absurdities of end-stage capitalism and mouldering social rituals from their vantage point in Glasgow, Scotland. Recorded primarily in the band’s home studio straight to tape, Chins For Lefty combines gorgeous, ramshackle melody, DIY kosmische punk, drum machine + synth and, in vocalist/lyricist Lisa Jones, an absurdist commentator on the human condition as it navigates the anxieties of the modern world. Instrumentalist Chas Lalli’s swirling music accompaniment stitches an evocative mix of musical styles, the ragged wind beneath the lyrics’ wings.

Although the duo first collaborated in their previous group Dragged Up, their disparate musical and artistic backgrounds make for an alluring mix in Gichard. Lalli has spent the last 20 years in the Glasgow underground, most notably in the noise rock group VOM, while Lisa Jones’s practice was in poetry and spoken word. Beginning as co vocalist in her previous band, in Gichard her lyrics are centre stage; the vision concocted alongside Lalli amounts to a total world-build.

Chins For Lefty scans almost like a novel, with each track elucidating a skewed universe that bears only some resemblance to the one you and I partake in. Like all works of fiction Gichard’s songs are rooted in reality and the lived experiences of its authors, but here characters are exaggerated, social mores and habits are pulled apart to reveal their inherent alienness. Universal emotions are laid bare, the bright light of anxious examination searching out every hairline fracture in our relationships. Distorted and cracked, the mirror that Gichard hold up to our world is also pretty damn funny.

Opener Cholesterol Test launches an expansive, cosmic guitar and synth intro that belies the Tascam-tape recorder it was recorded onto, like a Chromatics cut substituting anxiety for overt sexuality. Here Jones intones an apology to a non-responsive recipient, in the medium of a long voice note forensically deconstructing an interaction from the night before. Over punk guitars and shuffling, lo-fi drum machine splutters, the narrator in Asking The Apes “prefers things to people” before being taken hostage in the city zoo to confess an obsession which consumes the protagonist, ending with the immortal two liner “I sleep in a cocoon of old newspapers at the end of your street / And I think I have been fired from my job,” On album standout Posthumous Hologram, the narrator is faced with a human simulacra, in this case an undead pop star; the face of the encroaching technological singularity. Yes, it does requests, it can do My Way in 200 different language options. But what are the implications? While you’re left pondering, the alternating deadpan verse delivery and undeniably catchy chorus keep you company.

By the time Break Up With Johnny Dogbirth rattles into view, the band are satirising a suburban inanity blown up to cartoon proportions, soundtracked with a drawled musicality that recalls Rowland S. Howard’s post-Birthday Party balladeering. This approach is furthered on Human Resources: over an angular guitar+bass track, Jones’s short story recalls Dry Cleaning’s erudite lyrical post punk. On Soft Face, Lalli’s guitar and drum machine are swathed in echo and delay, as Jones dissects dating rituals with a west of Scotland drollness. Hamming It Up brings a porcine perspective in a short story that begins with the line “I was breastfeeding discreetly in the service station. She didn’t mind.” What follows is a passage punctured with canned laughter and a narrative involving tribute acts, modern farming techniques.

Brilliant first single Your Private Hell closes the album, the closest the group get to earnest perhaps, filtered through a surreal central Scottishness. While Your Private Hell might seem like a sardonic take down of romance, perhaps it’s the very distillation of love in all its awkwardness, selflessness and weirdness. Here there’s a distinctive Glasgow-ness to this doomed romance: the protagonist falls for an outsider, offers them cheap jarred hot dogs and carbolic soap (the infamous, excoriating soap dished out in schools and government buildings throughout Scotland), offers to cover up a murder, stalks them in the all-night Spar. It’s a short story of intrigue, murder and the irresistible pull of self-sacrifice to share in someone else’s suffering. If that’s not love, what is it? You can see this vision mapped out in black and white on their video for 'Your Private Hell'.

Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

Moving Images is a collaborative album by composers Frank Maston and Greg Foat, and marks the inaugural release on Magic Hollow, the new imprint founded by Daniel O'Sullivan. Rooted firmly in the tradition of classic library music, the album draws from the deep, elegant end of the form: vintage keyboards, analogue synthesis, drum machines, and melodic economy, realised with clarity, warmth, and restraint. Recorded in February 2025 at Ritmo Studios in Leysin, Switzerland, high in the Alps, Moving Images unfolds as a suite of finely balanced cues, defined by restraint, texture, and a discerning sense of tone.Swiss bassist Elie Ghersinu features prominently throughout the album, his rich and fluid bass tone providing a continuous anchor. The record draws inspiration from the golden age of European library music, channeling the spirit of De Wolfe and Bruton releases such as Alan Hawkshaw's Frontiers Of Science, the Push Button albums by Karl Jenkins and Mike Ratledge, Edmondo Giuliani's refined orchestrations, and Alessandro Alessandroni's Romance and Drama for Coloursound. Rather than pastiche, Moving Images internalises the discipline and elegance of these recordings, translating their grammar into a contemporary context. Maston Frank Maston's work occupies a space where pop sophistication, orchestral writing, and library traditions intersect. His seminal album Tulips established a distinctive voice defined by melodic confidence and meticulous arrangement, while Panorama, composed for the KPM library, placed him firmly within the lineage of modern composers revitalising the classic library form.Maston's music is characterized by melodic generosity and meticulous arrangement, resulting in work that is elegant, florid, and richly detailed. Greg Foat Greg Foat is a central figure in the contemporary resurgence of library-influenced music, known for his prolific output and deep engagement with the form. A virtuoso pianist, his work bridges jazz, soundtrack composition, and classic library aesthetics, often favouring analogue warmth, strong melodic identities, and ensemble interplay. Foat approaches library music as both a craft and a living language, practical, expressive, and open ended. Moving Images Together, Maston and Foat treat Moving Images as a shared vocabulary rather than a showcase. The album prioritises mood, utility, and suggestion, music designed to serve images and narratives while remaining richly satisfying in isolation. Magic Hollow Magic Hollow is a London based record label founded by composer Daniel O'Sullivan. The imprint is dedicated to contemporary works that engage with library music as a creative practice rather than a fixed genre.Magic Hollow represents a parallel compositional practice in which the sonic self-portrait gives way to openness, economy, and concision.

‘Black Butterfly’ is Brooklyn Funk Essentials eighth studio album and includes the bands recent hits ‘Never Give Up’, ‘Bust The Bus Stop’ and ‘Life During Wartime’. Playlisted on BBC Radio 2 and Jazz FM and supported by Craig Charles and Cerys Matthews at 6 Music as well as many stations across Europe and the Americas. The album was produced and co-written by bassist Lati Kronlund and features Alison Limerick, Ebba Åsman and Desmond Foster on vocals.

Kronlund and Limerick have been enjoying the recent renewed interest in ‘Where Love Lives’. Kronlund wrote and produced it for Limerick in 1990, it was remixed by Frankie Knuckles and David Morales and became a club classic and was featured in this year’s John Lewis Christmas TV Ad. Arthur Baker heard the original in a club in 1991 that he contacted Kronlund about working together and they then formed Brooklyn Funk Essentials.

Since then, Brooklyn Funk Essentials have built a devoted international following and notched up over 100 million streams. Fusing Soul, Hip Hop, Spoken Word, Jazz, Latin, and, of course,
Funk, the band’s journey began experimenting with drum machines and loops in Baker’s Shakedown Sound Studio in Jersey City—hunting for that perfect beat. The early recordings featured greats such as Maceo Parker, Lenny Pickett, Tower of Power Horns, Michigan & Smiley, and Dizzy Gillespie, leading to the acclaimed debut ‘Cool & Steady & Easy’ (1994). Fast-forward to April 2024, when Kronlund reunited with Baker in Miami, rediscovering recordings featuring percussion prodigy Bashiri Johnson, which inspired new creative sparks for the next chapter of Brooklyn Funk Essentials.

10 songs from No You - the debut, self-titled LP by Davy Kehoe (Wah Wah Wino, IE) and Diego Herrera (Suzanne Kraft, US). Sharing both vocal and instrumentation duties, D & D venture somewhat off of their respective musical paths - with the collab throwing up a big, small-studio sound. They are maybe at their most melodic on ‘Baby’ where their voices play off each other over bent feedback and crunching drum machine. There’s a real low slung swagger to ‘So Far Gone’ and ‘Miracle Mile’ met with a blown out and blasted approach on songs such as ‘Invisible’ and ‘Side Effect’. The song ‘Put Up A Dream’ exhibits the duo’s more unhinged side.