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NIKS steps further into her own sonic world with 'Moves Like 2', a powerful statement of intent that blends groove-heavy percussion and hypnotic club energy. The release offers a deeper glimpse into her identity as a producer.

The lead track 'Moves Like 2' is a pretty raw and direct UK club cut, the sound at the core which has influenced and set the tone of the more ‘heads down’ side of this release.

Sub Glow touches on the fun and playful side of the EP, providing softer textures through elongated pads, growing synths and an overall brightness.

Moves Like 2 receives a rework from one of the most tasteful and timeless producers, rRoxymore - who provides a deeper percussive and rhythmic touch to the feature track.

241 rounds off the EP with a slappy and ballsy tone, which features NIKS’ manipulated vocals, concluding the release on a succinct high and buzz.

Debuting on her new imprint, ‘Bloom Tone’, will serve as a self-directed outlet for NIKS’ own productions and friends, providing a platform for her creative autonomy and musical exploration.

Mit "Plan 76" entwickeln The Orchestra (For Now) ihren maximalistischen Ansatz dessen, was sie selbst als "London Prog" bezeichnen, weiter. Die EP kombiniert avantgardistische Rock-Theatralik, komplexes klassisches Zusammenspiel, pastoralen Barock-Indie, Post-Hardcore-Dynamik, jazzige Freakouts und alles dazwischen und ist eine Meisterleistung in Sachen Spannung und Entspannung. Die Elemente, die ihr Debüt zu einem Durchbruch machten, sind immer noch vorhanden: Die Kompositionen sind unvorhersehbar und doch unverkennbar eingängig, und es gibt skurrile Referenzen an die Popkultur und die sie umgebende Welt. Doch hier wird alles auf ein höheres Niveau gebracht, die zugrunde liegende Fragilität in einen Mantel musikalischen Selbstvertrauens gehüllt, der nur mit solch großem Ehrgeiz entstehen kann.

Die Lead-Single "Hattrick" fasst ihre Entwicklung perfekt zusammen. Sättigung und Kontrast wurden gesteigert, die dunkleren Ecken akzentuiert, ihre breitere Palette lebendiger und farbenfroher. Labyrinthartige Instrumentierung schwillt an und explodiert in Momenten schamanischer Stimmkraft, filmischer Streicher, einer treibenden Rhythmusgruppe und ungezügelter Gitarren, bevor sie aufflammt und grüblerischen, nachdenklichen Versen weicht.

Zur EP erklärt die Band: "Plan 76 vervollständigt die Geschichte, die wir ursprünglich erzählen wollten. Sie führt die Themen unserer ersten Veröffentlichung fort, platziert das dort Bewährte aber in anderen Welten und Situationen. Instrumental gesehen ist sie für uns anspruchsvoller. Nicht, weil wir unglaublich komplizierte Parts spielen, sondern im Gegenteil – wir haben versucht, sie zu verfeinern, anstatt sie zu verkomplizieren. Es gibt unglaublich exponierte Momente, in denen wir die Instrumentierung reduziert haben (was für uns nicht selbstverständlich ist). Diese EP bereitet auch den Boden für das, was als Nächstes kommt."

In den letzten Jahren hat die Band einen Aufstieg erlebt, von dem die meisten neuen Acts nur träumen können. Sie spielten auf der Hauptbühne des Green Man Festivals, traten beim End Of The Road Festival auf und spielten mehrere ausverkaufte Headliner-Konzerte, bevor sie überhaupt eine Single veröffentlichten. Nachdem sie ihren Sound auf der Londoner Live-Tour verfeinert hatten, veröffentlichte die Band Anfang des Jahres ihre mit Spannung erwartete Debüt-EP "Plan 75", die sowohl bei Kritikern als auch bei ihrer Fangemeinde für Begeisterung sorgte.

Limited to 250 copies. Death comes to us all. Emmerhoff & The Melancholy Babies do not shy away from this irrefutable fact. The band, celebrating their 30th anniversary in 2026, may now rightly consider themselves distinguished "elder statesmen" of rock. With such perspectives also comes the recognition of the transience of life. There are now more funerals than weddings lingering on the horizon, and the ranks of both the idols of our youth and contemporaries on the music scene are beginning to thin. "The Dying of The Light", its title taken from Dylan Thomas' iconic poem, contemplates and embraces the twilight of life, but also, in the spirit of the poem, fighting spirit and stubborn resistance to the inevitable. Death will come, but until then we will create music and celebrate life. October 2025 will see the release of the band's seventh studio album, recorded at Duper and Solslottet Studios in Bergen, produced by Iver Sandoy and Jorgen Træen.. The music reflects the sombre thematic while also being vital and vigorous. The range is wide, from delicate contemplation to powerful outbursts, strictly composed in one moment and loosely improvised in the next.

„I Can’t Let Go“ ist die erste Zusammenstellung der Aufnahmen der Brooklyn-Sängerin Evie Sands aus den 60er Jahren, die alle 15 Titel ihrer ersten 8 Singles auf der Vinylversion enthält. Die CD-Ausgabe umfasst weitere 11 Titel, darunter ihre kompletten 45er-Singles aus den Jahren 1963 bis 1970. · Sands, die bereits als Kind zu singen begann und schon in jungen Jahren im Studio arbeitete, verfügte über eine kraftvolle und faszinierende Stimme, die ihr Alter Lügen strafte und auf klassischen 45er-Singles zu hören war, die von Soul- und Rock-Sammlern sowie Liebhabern von Girlgroups und Femme-Pop gleichermaßen geschätzt wurden. · Nach ersten Veröffentlichungen bei ABC und Gold tat sich Sands 1965 mit dem Songwriting-, Arrangement- und Produktionsteam Chip Taylor und Al Gorgoni zusammen, um eine Reihe exzellenter und oft erstaunlicher Platten bei den Labels Blue Cat, Cameo und A&M aufzunehmen, die in ihrem vielbewunderten ersten LP gipfelten. Dabei nahm sie die Originalversionen (und definitiven Versionen) von „Take Me For A Little While“, „I Can't Let Go“, dem Northern-Soul-Floor-Filler „Picture Me Gone“ und dem majestätischen „Angel Of The Morning“ auf und sah ungläubig zu, wie sie alle zu Hits für andere Künstler wurden. Nachdem sie 1969 mit „Any Way That You Want Me“ endlich einen eigenen großen Hit gelandet hatte, folgte nach einer kurzen Auszeit Anfang der 70er Jahre ein gut aufgenommenes Comeback-Album, „Estate Of Mind“, und zwei US-Top-50-Hitsingles. Durch die kontinuierliche Weiterentwicklung ihrer Produktions- und Songwriting-Fähigkeiten standen bald die Größen der Popmusik Schlange, um mit ihr zusammenzuarbeiten und ihre Songs aufzunehmen: Barbra Streisand, Dusty Springfield, Karen Carpenter, Dionne Warwick und später auch Missy Elliot coverten Sands' Kompositionen, und Elvis hätte es beinahe auch getan... · „I Can’t Let Go“ wurde von Jai Rathbone in enger Zusammenarbeit mit Evie Sands zusammengestellt, die ihre Gedanken und Erkenntnisse über diesen frühen Abschnitt ihrer Karriere teilt. Mit zahlreichen Illustrationen versehen, ist dieses Buch ein Muss für jeden Fan. · Bewundern Sie erneut (oder zum ersten Mal) die Vielseitigkeit eines der bestgehüteten Geheimnisse der 60er Jahre: die volle, emotionale und wahrhaft unverwechselbare Stimme von Evie Sands.

Stepback Records is proud to announce the highly anticipated release of Jacksonville's new 12" vinyl, Oracle Memory EP.

Jacksonville is an electronic artist whose work spans multiple genres, creating music that’s designed for clubs and dance floors. With previous releases on labels such as Atmospheric Exsistence and Chez Damiers Balance Alliance imprint Jacksonvilles roots run deep.

With Oracle Memory EP, Jacksonville takes listeners on a journey of low end perfection, blending elements of house, electro and bass music genres.

Produced by Chris Lyth (Jacksonville), Oracle Memory EP was crafted with vinyl in mind with an analog warmth throughout each track. Likewise master and cut comes courtesy of Optimum in Bristol for the absolute best sound quality possible.

Rotterdam's Bright Message Records' second release is the highly anticipated 12-inch vinyl "KING INNA THE RING," produced by Imperial Sound Army. The title refers to the powerful vocal version, sung by UK-based King Stanley, which immediately creates the impression of a true anthem and a strong tribute to Jah Rastafari. The vocal version is paired with a dub cut that strongly emphasizes this element of praise. The way this dub connects the A-side and B-side of the record, reveals both Dan-I's years of experience as a soundsystem selector and excellent production skills.

The B-side contains the fantastic melody version "TROMBONE INNA THE RING." With an unexpected intro and upfull vibes, Matic Horns shows he grooves like no one does and keeps the melody tuff till the end. The final track is a dub of Matic's melody version, in which Dan-I explores the full depth of his riddim.

"King Inna The Ring" is a versatile record that captivates from start to finish and was played as dubplate by a handful of well-known soundsystems during the summer of 2025.

Play it loud and let the world know who's the KING INNA THE RING!

Vocals: King Stanley (UK)
Trombone melody: Matic Horns (UK)
Horns vocal riddim: Ital Horns (UK)
Keys: Smiling Roots (IT)
Riddim, mixing and production: Imperial Sound Army (IT)
Mastering: Pressure Mastering (UK)

SDP melden sich mit ihrem elften Studioalbum „Die Wollen Nur Spielen“ zurück. Der Titel ist Programm:
Ob auf der Bühne vor Tausenden von Konzertbesuchern oder im Studio - Vincent und Dag haben ihre
Spielfreude auch nach 25 Jahren Bandgeschichte behalten und beweisen dies immer wieder - nun auch mit
diesem Album.
„Die Wollen Nur Spielen“ - das wissen auch die knapp 300.000 Konzertbesucher ihrer letzten Open-Air-Tour.
Ihre Musikvideos zählen knapp eine Milliarde Views auf YouTube, SDP spielen unzählige Headliner-Slots
auf allen großen Festivals und halten den Status, als eine der erfolgreichsten deutschen Bands im Streamingbereich. Viele ihrer Alben sind vergoldet und diverse Singles haben Gold- und Platin-Status erreicht.

Blondies „No Exit“ war ihr erstes Studioalbum seit 17 Jahren und erschien im Februar 1999 nach „The
Hunter“ (1982). Das Album enthält den britischen Nummer-eins-Hit „Maria“ sowie „Nothing Is Real
But The Girl“ und „No Exit“. Die Originalveröffentlichung wurde in den Electric Lady Studios, bei Red
Night Recording und im Chung King House of Metal in New York aufgenommen und enthielt 14 Titel.
Spätere CD- und Kassettenversionen enthielten Bonusmaterial von Blondies Lyceum-Auftritt 1998 sowie
den zusätzlichen Titel „Hot Shot“.
Die Neuauflage von 2025 enthält alle Originaltitel in remasterter Form sowie eine Auswahl seltener und
bisher unveröffentlichter Bonus-Mixe. Es handelt sich um die erste offzielle Vinyl-Veröffentlichung des
Albums mit seltenen und unveröffentlichten Fotos sowie ausführlichen Linernotes.
• Blondies klassisches Album von 1999 mit der Hitsingle „Maria“ wurde erstmals offziell auf kristallklarem
Doppelvinyl (140G)und 180G Black Doppelvinyl veröffentlicht und enthält neue Remixe

Die Charlatans sind zurück mit ihrem mit Spannung erwarteten neuen Album „We Are Love“. Ihr erstes
Studioalbum seit 2017, diese elf Songs umfassende Sammlung, markiert ein bedeutendes Comeback der
Band. Mit „We Are Love“ erweitern die Charlatans ihre klanglichen Grenzen und bieten spannende Kollaborationen mit dem gefeierten Dev Hynes und dem renommierten Produzenten Steven Street. Das Ergebnis
ist ein frischer und dennoch unverkennbarer Charlatans-Sound.

Die erfolgreiche englische Alternative Band Florence + The Machine veröffentlicht ihr mit Spannung erwartetes 6. Studioalbum ”Everybody Scream”.
Die Band rund um Frontfrau Florence Welsh ist aus der globalen Musikszene nicht mehr weg zu denken!
Mit 7 Grammy Nominierungen, mehrfachen Platin - und Gold Auszeichnungen, fünf Top 10 Platzierungen
in den Deutschen Album-Charts sowie mehr als 1,5 Millionen verkauften Tonträgern in Deutschland zählt
Florence + The Machine zu einer der einflussreichsten Bands der letzten Jahrzehnte. In der Vergangenheit
arbeitete die Band mit Musikgrößen wie Taylor Swift (”FLORIDA!!!”), Lady Gaga (” Hey Girl”) & Calvin
Harris (”Sweet Nothing”) zusammen. Bekannt wurde die Gruppe durch den kraftvollen Gesang von Florence Welsh und dem theatralischen und oft mystischen Sound, welcher Elemente von Art-Pop, Indie Rock
und Barock-Pop filigran vereint. In ihrer Musik erkundet Florence + The Machine Themen wie Liebe, Tod,
Schmerz und zieht Inspiration aus der Kunst und Literatur der Renaissance.

A samba funk essential. This debut album from Jorge Ben's iconic backing band blends Brazilian rhythms, soulful vocals, and American funk energy into one unforgettable groove. Includes the hit single 'Coqueiro Verde' along with standout tracks like 'Meu País,' 'Aleluia, Aleluia,' and 'O Canto da Ema.' A timeless gem for fans of Brazilian soul, vintage funk, or global grooves. Trio Mocotó is best known for being the powerhouse backing band behind Brazilian legend Jorge Ben during the height of his creative explosion in the early 1970s. But their contribution to music goes far beyond the supporting role-they were instrumental in shaping what would become known as samba funk, a vibrant fusion of traditional Brazilian rhythms with the groove and energy of American soul and funk music. Formed in Sao Paulo's iconic Jogral nightclub, Trio Mocotó-featuring Fritz Escovao, Joaozinho Parahyba, and Nereu Gargalo-began their musical journey as resident musicians, providing live accompaniment for a rotating cast of performers. It was here that Jorge Ben first encountered their raw talent and unmistakable chemistry, ultimately inviting them to join his band. The collaboration would go on to define an era. In 1971, Trio Mocotó stepped into the spotlight with their debut solo album, "Muita Zorra! (...Sao Coisas Que Glorificam a Sensibilidade Atual)." The record made an immediate impact, climbing the charts with the infectious single 'Coqueiro Verde' and marking the start of a prolific period in the group's career. "Muita Zorra!" is a dazzling blend of styles-mixing the baroque funk and melodic sophistication of artists like Marcos Valle with the soulful spirit of Jorge Ben. Layered with elements of American funk, the album delivers a dynamic, rhythm-driven sound that still feels fresh today. The trio's vocal harmonies are front and center, weaving through each track with warmth and richness, creating a captivating sonic tapestry that energizes every beat. This album isn't just a snapshot of a musical moment-it's a cornerstone of Brazilian soul. A must-listen for fans of global grooves, vintage funk, and timeless Brazilian music, "Muita Zorra!" is once again available and ready to take its well-deserved place in your collection. First time official reissue.

"It's a Beautiful Day" brings together 12 outstanding songs recorded between 1971 and 1976, reminiscent of sunshine pop, psych folk and soft rock with Peruvian touches, taken from extremely hard to find records, some of them reissued here on vinyl for the first time. A mindblowing look at a really stunning musical moment in Peru. Unusual instruments and exceptional vocal play also feature in the ten original songs and two cover versions, all performed by Lima-based groups. MAG has been, since its foundation in 1953, an essential label in the music scene of Peru, allowing the development of the careers of both tropical artists and musicians of other genres. At the head was Don Manuel Antonio Guerrero, its founder, whose name comes from the acronym of the label itself (M.A.G.). In 2021 MAG was acquired by the Spanish company Distrolux SL, owner of the Munster and Vampisoul record labels, after years of previous collaborations in which some of the most emblematic titles in the catalog were already reissued for the international market: Nils Jazz Ensemble, Sonora Casino, Traffic Sound, Al Valdez, Pax... Following our recent release "14 MAGníficos Bailables", comprising some of the best tropical music on MAG, this new compilation brings together 12 songs recorded between 1971 and 1976, reminiscent of sunshine pop, folk psych and soft rock but with Peruvian touches. The lyrics range from youthful reflections, environmental awareness, paradigm changes to all shades of love that the youth of the day experienced. Unusual instruments and exceptional vocal play also feature in the ten original songs and two cover versions, all performed by Lima-based groups.

LP&DL Im Jahr 2023 erschien das Debütalbum der Wiener Band Bad Ida, das einen durchaus bemerkenswerten musikalischen Stil repräsentiert: eine explosive Mischung aus Soul, Funk, R'N'B traditioneller Spielart und dem absolut Besten was man aus dem guten, alten Bluesrock herausholen kann. Das klang im positivsten Sinne gewohnt und auch wieder ganz neu und heiß und dann war da ja noch eine Stimme, die besagte brandgefährliche Mixtur mit dem ersten Atemhauch zum Bersten brachte. Die Melodien - pure Ohrwürmer - und der rhythmische Drive hinterließen bei vielen geneigten Hörer:innen erstaunt-ekstatische Blicke und nur noch ein einzelnes, rudimentäres Wort im auf der Tanzfläche leergefegten Gehirn: WOW! Was tun nach so einem runden und rundum gelungenen Anfang? Easy: einfach weitermachen, wenn sich der perfekte Flow schon so schön zur groove-orientierten Spielfreude verdichtet hat. Nun startet also mit Ending Things der zweite Anlauf, um Hörnerven und Tanzbeine ordentlich auf Schiene zu bringen. Und es geht wieder aus dem Stand auf 180: angereichert mit einem dezenten Schuss Pop nistet sich hier ein weiteres großartiges Album konsequent auf dem Plattenteller ein. Die Lyrics von Ines Dallaji behandeln wieder die ganz großen, nicht immer ganz glücklichen Gefühle - die wiederum von einer richtig gut aufeinander eingespielten Band sehr zum Glück des Publikums intensiv zum Leben erweckt werden. Themen wie Umweltzerstörung ("Red Flags"), der Druck sozialer Medien ("Age of Likes"), Trauer ("I Still Miss You"), Angstbewältigung ("Fear") und toxische Beziehungen ("Remember My Love For You", "Leave Me Alone") verleihen dem perfekten Pop-Sound tiefgründige Strahlkraft: Bad Ida ist weit mehr als die oberflächliche Eleganz und der reizvolle Glamour, mit denen man das Genre Soul ja oft verbindet.

LTD edition Halloween vinyl re-issue

We’ve got a special AA-side vinyl release for all Toolroom and Cutting Recs fans with the original UK Edit of the seminal ‘This Brutal House’ from Nitro Deluxe followed, by the 2023 rework from Toolroom’s founder Mark Knight! A release you do not want to miss!

Sat in-between Electro and House genres, Nitro Deluxe’s pivotal record ‘Let’s Get Brutal’ on legendary imprint Cutting Records helped paved the way for the early beginnings of House music as we know it today. A record that has influenced so many of House music’s iconic artists, from being sampled by Kevin Saunderson (aka Good Life) in their huge hit ‘Big Fun’ and most recently, Mark Knight.

An unmistakable record and one that struck a chord in the early career days of label boss Mark Knight, who simultaneously sought to beef up his current sets in 2023 with the magic of those early House records, when the opportunity arose to update this classic Mark straight in. Keeping this new version sentimental to the original, with all those original synth elements included but laid over the top of an up-to-date Tech House groove with a renewed energy, so that today’s floors will appreciate that seminal riff, all over again.

Diese streng limitierte Doppel-LP dokumentiert das Attwenger-Konzert vom 6. Dezember 2023 im Chelsea, Wien. Erstmals erscheint der Mitschnitt auf farbigem Vinyl - transparent Gelb & Grün - als "Extended Limited Edition". Die Aufnahme vereint aktuelle Stücke der Alben Spot und Drum mit Klassikern aus den 1990er- und 2000er-Jahren. Attwenger live bedeutet maximale Energie: Dialekt trifft auf Punk, Quetschn auf Elektrobeats, Tradition auf Experiment. Die dynamische Mischung aus alten und neuen Songs wird auf vier LP-Seiten zu einem intensiven Hörerlebnis. Als Bonus enthält die Edition einen historischen Live-Track mit Oliver Mtukudzi & The Black Spirits aus 1994

Bilders new album, Neverlasting is a mix of psychic adventures, hard psychedelia and commentary with a bite. Bilders have always sung outliers with a heap of empathy—exploitation of migrants, unmitigated killing and the state of our depleted planet. This album maintains an analog feel with technical finesse as it casts a cold eye on uses and abuses of power in the higher echelons. It is pure Bilders. Surprise collaborations bring in fresh tangents of colour and emotional edge. “We are the Neverlasting renter-squatters of Earth exhausted”. The band is once again the voice/guitar of Bill Direen, bass of Matt Swanson and near everything else by Alex McManus, with guesting by former Bilders. It’s the same lineup as last year’s acclaimed Dustbin of Empathy, released by Grapefruit and Sophomore Lounge, and the first ‘core’ Bilders lineup to remain constant for more than one album. The new compatibility shows. It’s an album that builds on current strengths. Notable guestings include Athens Georgia lights Claire Horne of 1980s BBQ Killers, and Curtiss Pernice, guitarist of heavy vanguard Porn Orchard, with a snook-in from experimental and electronic prince Todd Gerber. Two never-released tunes by vintage Bilders (Stu Page and Greig Bainbridge) sit perfectly with the new material. This is quite simply the strongest Bilders album ever.

Neue EP des britisch-französischen Trios MADMADMAD, einer der derzeit aufregendsten elektronischen Acts des UK und auf den Plattentellern von Erol Alkan. Nach ihrer energiegeladenen Supportshow für Róisín Murphy 2022 wurden sie direkt zu ihrer neuen Begleitband. MADMADMAD kombinieren 2000er Electro mit Spät-70er/Früh-80er NYC Dance-Punk und fügen Spuren von Krautrock hinzu. Ihre letzte LP ""Behavioural Sink Delirium"" (2023) wurde von Eddie Stevens (Zero 7, Moloko, Róisín Murphy) produziert. Die 4 Tracks der neuen ""Run"" EP sind Mutant-Disco mit Einflüßen von Aphex Twin über Chemical Brothers bis Ellen Allien, und Rachel Kennedy on vocals. Federnde Rhythmen, schräge Acidlines, Bollywood-inspirierte Gitarrenriffs und eindringliche Bässe erzeugen ein laserfokussiertes Chaos, das die Dancefloors brennen lässt.

Second venue for Chross Chaos productions !
Elmucho23 mental tribe pure original style meeting Unusual Therapy for some banger mental collabs !

limited edition

Bumping pop winners from this cool Danish Duo.. TIP! info soon

Music and lyrics by Snuggle: Vilhelm Tiburtz Strange, Andrea Thuesen Johansen

Produced by Snuggle

”Sun Tan” produced by Snuggle and Nis Bysted
Mixed by Snuggle and Nis Bysted at Grapehouse Studios
Mastered by Emil Thomsen

Andrea Thuesen Johansen: Vocals, electric guitars, acoustic guitars, piano, synths
Vilhelm Tiburtz Strange: Electric guitars, acoustic guitars, electric bass, piano, synths, drums, percussion
Tobias Laust: drums on “Woman Lake” and “Dust”
Naja Soulie: cello on “Woman Lake”, “Marigold” and “Driving Me Crazy”

Originally recorded in the Dutch towns of Ureterp and Groningen between 2003 and 2005, 'Through Friendly Waters' marks a pivotal moment in Reimer Eising’s —better known as Kettel— journey through melodic braindance and ambient electronica. With his classical training on piano and a refined sensibility for gentle electronic textures, Kettel weaves together shimmering piano motifs, warm ambient textures, playful breakbeats, and pastoral atmospheres that shimmer with emotional resonance.

First released in 2005 via his own label Sending Orbs, the album soon achieved cult status among IDM fans, celebrated for balancing playful compositional elegance with heartfelt sonic depth. TFW still remains as a timeless soundtrack that perfectly encapsulates why Kettel remains a key figure of electronic music enthusiasts two decades on.

To honour its twentieth anniversary, Lapsus Records presents 'Through Friendly Waters (20th Anniversary Edition)', marking the album’s debut on vinyl within the Perennial Series. This edition has been remastered by Alex Ferrer and redesigned by Basora, resulting in a deluxe version that also includes the tracks "Unistar" and "Toen", which were originally released only on CD by the Timothy Really label back in 2007.

Detroit-born artist, Jalen Elk Star unveils his debut LP, ESIN on L.I.E.S. Known in certain circles as filmmaker, music producer, playwright, and collagist, Jalen often draws from controversial themes to craft modern avant-garde works redefining the way art is seen in today’s chaotic universe. After years working on diverse projects under various aliases, his shift to a more liberated creative process under this new moniker has allowed his vision to reach a broader audience, continuing the path with the music on this new lp.

ESIN, a 13-track sonic collage, builds on his past, blending raps, noise, ambience, samplers, drum machines and synths into a raw, vibrant narrative. This work traces Jalen’s journey between his cities, Detroit and Chicago, offering a profound glimpse into his dynamic, limitless world of sound and vision. Something along the lines of the dusty crunched out vapors of the 2010s getting in a car crash with the abstractions of Rammellzee. A headtrip for the headphones.

Verve // Remixed Holiday returns this season with a fresh spin on timeless cheer. Inspired by the beloved 2008 release, this vibrant reimagining of classic holiday tracks from Verve Records’ legendary catalog features five brand new remixes from a cutting-edge lineup of DJs and producers: Ginton, Bolden., Tourist, Two Another, and DARGZ. Their genre-blurring interpretations bring new life to beloved recordings, fusing modern electronic textures and grooves with jazz, soul, and holiday nostalgia.

This release offers a renewed celebration of the season—where vintage vocals meet forward-thinking production. From cozy fireside vibes to festive dance-floor energy, Verve // Remixed Holiday bridges generations of sound and spirit.

Pressed on “Crystal Clear” vinyl, this is a must-have for collectors and a holiday essential you will putting on all year long.

"Visual artist, musician and composer Satch Hoyt will release a new 10” vinyl album, Un- Muting, on 3 October 2025 on newly minted record label traza, run by Andrea Zarza Canova and distributed by Honest Jon’s Records. This album is the first to document Hoyt’s ongoing, long-term project of un-muting historical African instruments held in Western museum collections and includes his composition: Un-Muting Beyond Misspelt Borders.
Originally commissioned by Nottingham Contemporary for the exhibition Your Ears Later Will Know to Listen, Hoyt’s composition invites listeners to engage with what he calls ‘sonic restitution’, a performative challenge to the silent confinement of instruments within Western conservation standards and ethnographic museums, awakening and celebrating the hybridity, resilience and creativity of the transnational African diaspora.
The composition began with a recording session in October 2023 at the British Museum in London, where Hoyt was granted access to a selection of African instruments held by the British Museum’s Department of Africa, Oceania and the Americas. In the presence of curators and conservation staff, he played the instruments without written scores, responding instead to their physical and sonic presence.
The recordings were then further developed in Hoyt’s studio, combined with additional performances on both African and Western instruments from his own collection."

For Hoyt, un-muting is both a creative and political act:
"To Un-Mute is to gain access into ethnographic museum collections where I play and simultaneously record the abandoned ancient African musical instruments. These restituted recorded motifs and rhythms accompany my live concerts and recordings. Un-Muting is also concerned with the chapters of patriarchal and racist supremacy which accompany the instruments’ abductions, vehemently opposing the current continuum of this supremacy, its ongoing colonial expansion and continued capital extractivism. It remains focused on the retention of spiritual belief and stalwart visions of liberation leading to eventual global emancipation and self-realisation."
- Satch Hoyt, June 2025

The 10” vinyl record includes a newly commissioned text by critic and scholar Tavia Nyong’o.
The album will be released on vinyl and digital formats on 3 October to coincide with the opening of Satch Hoyt’s solo exhibition Satch Hoyt: Afro-Sonic Mapping Chapter 4 at KARST Plymouth.

Ancient African instruments: Trumpets (Kuba), Sanzas (Chokwe, Lega, Kongo, Yao), Ilimba (Nyamwezi), Whistles (Chokwe, Luba, Pende, Bambara), Talking Drum (Yoruba), Slit Drum (Kuba, Yaka, Tetela, Songye), Bell (Tetela), Rattles (Yoruba, Luba, Bamileke, Pende) and Flutes (Kuba, Kongo, Mossi, Bambara)

Western instruments: Flute, Electric Flute, Roland Handsonic, Synthesizers, Glockenspiel, Wooden Xylophone and assorted hand percussion

Composed, arranged, produced and performed by Satch Hoyt
Engineered and co-produced by Dirk Leyers
Recordings of musical instruments held by the Department of Africa, Oceania and the Americas at the British Museum by Adam Laschinger
Studio recordings of African instruments from Satch Hoyt's collection by Dirk Leyers
Uncredited Female Chant on wax cylinder recording by Karl Edvard Laman (c. 1910), held by the Berlin Phonogramm-Archiv
Additional sound design and production by Call & Response Studios
Mixed by Hendrick Valera (Cali, Colombia)
Mastering and lacquer cut by Kassian Troyer at Dubplates & Mastering
Cover art: Satch Hoyt, Score #1, 2020
Design by Elisabeth Klement
Direction by Andrea Zarza Canova

"Imagine More is the follow-up to Lophae's acclaimed debut Perfect Strangers (January 2025).
Recorded live to 2-inch,16-track analogue tape with the band all in one room, engineered and mixed by Benedic Lamdin (Nostalgia 77), and mastered by Caspar Sutton-Jones (Gearbox Studios), this second offering from guitarist and composer Greg Sanders' quartet ventures deeper into their distinctive blend of modern jazz, psychedelic exploration, and world music flourishes.
Four gifted improvisers navigate Sanders' compositions with mercurial dialogue and musical communion, weaving melodic elegance with rhythmic complexity, creating sound-worlds that echo Jeff Parker, Joao Gilberto, and Blake Mills while channeling the sophistication of Stan Getz, Bill Frisell, and Edu Lobo.
Fizzing electric guitar, flowing saxophone lines, and skittering rhythmic interplay transport listeners from north-west London's Fish Factory recording studio to the musical capitals of New York, New Orleans, Rio De Janeiro, Bamako, and Johannesburg - anchored by Sanders' unmistakable compositional voice and the quartet's intuitive sensitivity."

Impressions marks Budapest based independent label Blue Sun’s 6th release. Hungarian multi-instrumentalist, Fingerfisher guitarist Adam Gollob's debut solo LP carries forward the musical direction set by the label’s founders (Hanussen & Kozmo D) by presenting tracks that are built around concentrated, listening-based music consumption, deliberately crossing, possibly defying genres.

Impressions is a profound reflection of transformation, embracing imperfection along the way. As a former student of jazz guitar at Bartók Conservatory, Gollob evokes the wandering spirit of John Coltrane with the title, at the same time inviting the listener into a brief but intensive creative period of the artist’s own life. Music listened to, festivals visited, thoughts and conversations - all echoing through-and-throughout the composition, questioning, dismantling, and rearranging them into a piece.

The record is a rich and evocative work that blends elements of new wave, indie rock, alternative electronic, and neo-psychedelic styles. The introspective lyrics and unrefined vocals explore different aspects of existence, placing the perpetual tension between uncertainty and confidence at the center. The hypnotic synthesizers, raw drum textures, and the structurally interwoven songs provide a complex listening experience. The material reforms with each replay into an ever-changing musical landscape, with a strikingly unique, fuzzy yet soothing atmosphere.

Following up on a cracker split single in 2023, Overload Liverpool enterted into 2024 firing on all cylinders with a 5 shooter of freaked-out electro, warm house, deep dub cuts, and gorgeous ambient.

Firstly, Liverpool-based label boss Morrison highlights two of his distinct and dissociative styles. On the front end of the A-side, his The Motorist alias provides us with a freaked-out formant-filtered electro that’s bursting at the lips. On the back end, a deep yet bright house cut from his The Cyclist alias, with warm warbling synths layered over his Wurlitzer electric piano and suitably grooved and jaunty beats.

To kick off the deeper B-side of the 12”, Wax Tek, a founder of the Liverpool Soundsystem crew Polyone Audio, hits us right in the chest with his dubbed-out breakbeat wonder, Get Set, which diverges through Balearic, bass music, a delirious breakdown, and hard-hitting breakbeats.

Deeper still, the second B-side from Puncta, another Liverpool-based artist, who last year came to light with their release on Sputnik One’s N-Face, dives into the deep Arctic seas with Snow Crab, an exercise in dubbed-out electro-style bass music.

Finally, Belfast-based Aaron Thomas brings the 12” EP to a fitting closure with Concert², which, washing over the listener, dances like opulent drapes with its ethereal synths that crash to and fro.

Fog is Marija Rasa’s debut album on Short Span as emer, and her first cut to wax. It follows a single featuring Ugnė Uma for Stroom and a wonderful debut tape for the now cult (I hope!) incubator label Lilerne Tape Club.

It’s for dreamers. Very dub. Soul. Ambient too. A bit of Detroit-like post industrial imagining. You can read it is as a new and different version of a very classic dub technique from the producer in many ways - Marija at the mixing console and effects desk, conjuring a new versioned music through radical restructuring and an instinctive reshaping of space + melody + lyric in studio experimentation.

Tracks are pinned down by thick and enveloping bass while other elements float in and out, fleeting narcotic or hypnagogic notes of fantasy and song form bob in and out of focus. Scant colours and disorienting voice and melody sit suspended, occasionally coalescing and breaking out into moments of radiant beauty and slowly burning manifestations of warmth and presence shooting through the heart and gut.

New single by Romperayo on 7-inch vinyl spinning at 45 rpm, released by the Austrian label discos
elgozo.
This record is a tribute to the sound of Cumbia Sabanera de Acordeón from Colombia, in dialogue with
Mexico’s Cumbia Sonidera. It also pays homage to the melodic line of the first generation of
Colombian accordion masters of Cumbia Sabanera such as Joaquín Betín, Emiro Caicedo, and
Policarpo Calle.

The two tracks are built on a solid rhythmic foundation of bass and percussion, accompanying a
melodic interplay between accordion and analog synthesizer.Mixed and produced by Pedro Ojeda Acosta at Romperayo Studios, both songs were recorded live, in
quartet format, at Mambo Negro Studios in Bogotá, Colombia, by Daniel Michel, featuring Iván
Medellín on accordion, Nicolás Eckardt on electric bass, Juan Manuel Toro on analog synth, and Pedro
Ojeda on percussion.
This single offers a first taste of Romperayo’s upcoming LP, set for release in early 2026 — once again
on discos elgozo.

Little Beat More is delighted to present the new EP release from Grupo Jejeje, los místicos de la kumbia!
This release reflects the commitment of the duo founded by Turbo Sonidero and Arrabalero to musical exploration and innovation, blending synth-driven Mexican cumbia with hip-hop, electronic and Persian influences.
Whether it’s the hypnotic, bass-heavy pulse of "Sordeados Kasbah" or the wistful, laid-back tones of "Asuka," Grupo Jejeje’s music resonates with a rare depth and sophistication transforming their local roots into a global soundscape like sonic alchemists, and crafting a sound that feels both ancestral and futuristic.

Pressed on 7” vinyl, this release encapsulates what Grupo Jejeje does best: reimagining the essence of cumbia while anchoring it in a forward-thinking sound.
Let the mystics of cumbia guide you into uncharted musical territories.

A well-timed remastered version of this killer jacking electro cut from Aaron Carl on the legendary Metroplex label, featuring none other than Juan "The Man" Atkins. The release includes four versions. Dirty, essential Detroit electro.

Repress of ‘Glow On’, the 2021 Grammy nominated third studio album from Baltimore hardcore punk quintet Turnstile. Co-produced by the band themselves along with hip-hop producer Mike Elizondo, and featuring the guest vocals of Blood Orange.



Recorded with producer Mike Elizondo and co-produced by the band’s Brendan Yates, GLOW ON follows TURNSTILE’s 2018 breakthrough album TIME & SPACE, which saw the Baltimore band charting new ground for hardcore, expanding stylistic boundaries and celebrating new possibilities.



With GLOW ON that utopic vision is fully realized; 15 tracks devoid of borders, boundaries, or entry obstacles, only abundant imagination, heart, and grooves plucked from all corners of the musical spectrum. GLOW ON includes the singles “HOLIDAY,” “MYSTERY,” “NO SURPRISE,” and “T.L.C. (TURNSTILE LOVE CONNECTION) from TURNSTILE’s recent TURNSTILE LOVE CONNECTION EP. GLOW ON also includes guest features from Blood Orange on “ALIEN LOVE CALL,” “LONELY DEZIRES,” with additional vocal contributions on “ENDLESS.”



“TURNSTILE has the ability to lure even the most poptimistic listener with spectacular hooks,” affirmed NPR remarking on the band’s single “HOLIDAY,” while The FADER named the track one of the 20 Best Rock Songs Right Now. Stereogum declared, “If you’re gonna go big, you might as well go gigantic, and with ‘MYSTERY’ TURNSTILE sound like they’re about to be huge.”



Bringing superhuman energy to the stage, TURNSTILE are scheduled to perform a string of sold-out headline shows this summer in the US, followed by appearances at next year at Spain’s Primavera Sound on 6/5, France’s Hellfest on 6/23, and the UK’s Outbreak Festival on 6/24.



Always more appeal than demand, more liberation than limitation, TURNSTILE extended their hand in 2018 with TIME & SPACE. Recorded with producer Will Yip, TIME & SPACE marked Turnstile’s Roadrunner Records debut and saw the band exploding the most outsized tropes of hardcore with tremendous heart. The album earned “Best of 2018” honors from Kerrang!, The New Yorker, The New York Times, Rolling Stone, NPR, Billboard and more, with GQ naming TIME & SPACE one of “The Best Albums That Shaped the 2010s.”



Comprised of Brendan Yates (Vocals), Franz Lyons (Bass/Vocals), Brady Ebert (Guitars), Pat McCrory (Guitars), and Daniel Fang (Drums), TURNSTILE’s brand of youth-minded, youth-driven hardcore punk is intent on breaking down barriers, sonically and ideologically.

It runs through the minds of men and women of a certain age, complexion, and place who grew up during the era of segregation and who defied their parents, the law, and all genteel propriety and custom by answering one bluesman's invitation to cross the color line and join him getting lowdown and dirty as he serenaded a generation from the bandstand, on jukeboxes, and through the radio.

To them, the slurred guttural sound of a wise man singing "Hush, Hush," putting down the "Big Boss Man" or advising the listener to "Take Out Some Insurance" before they behold the "Bright Lights, Big City" was a siren's call they had no choice but to answer. Even if they tried, they couldn't resist the steady, dirty rhythm punctuated by the twanging sting of an electric guitar note and the sweet wail of a harmonica. And when they leaned in close, they could even hear the barely perceptible sound of a woman's voice whispering forgotten lyrics into an ear.

Ain't nobody can do Jimmy Reed like Jimmy Reed could. But this drive down Jimmy Reed Highway with fellow Mississippian Kent "Omar" Dykes at the wheel with Jimmie Vaughan (older brother of the legendary Stevie Ray Vaughan) riding shotgun and folks like, Kim Wilson, Miss Lou Ann Barton, James Cotton, Delbert McClinton, and Gary Clark, Jr., joining the duo, comes mighty close. As Omar guns the engine and peels rubber on the two- lane blacktop lined with no- good women, empty whiskey bottles, too many cigarette butts and bad intentions, he leaves John Law trailing behind eating his dust. Hop in for a ride and turn up the volume. The electric bluesman who shaped the minds and moves of a musical generation is alive and well. (by Joe Nick Patoski)

Indo Warehouse presents ‘Bombay Acid’ on Crosstown Rebels, featuring Kunal Merchant and Raja Kumari. The hypnotic new single, fusing heritage and future-focused touches, lands with a remix from SYREETA

Making their debut on Crosstown Rebels, New York collective Indo Warehouse unveils ‘Bombay Acid’. The release is a collaboration between co-founder Kunal Merchant and acclaimed vocalist Raja Kumari, capturing the Indo Warehouse ethos: hypnotic grooves, ancestral textures,and underground energy fused into one expansive, ritualistic journey.‘Bombay Acid’ pairs Merchant’s meticulously layered production, melding deep, hypnotic grooves with textures drawn from South Asian musical traditions, with Kumari’s commanding vocals. The track unfolds as both a club-ready cut and an immersive ritual, bridging cultural heritage and contemporary electronic sounds. A Grammy-nominated rapper, singer, and classically trained dancer, Raja Kumari bridges Indian tradition with contemporary global music. She has collaborated with Timbaland, Dr. Dre, Gwen Stefani, John Legend, and Iggy Azalea, and has performed at Coachella, Wireless, and India’s NH7 Festival. Her imprint, Godmother Records, and projects such as ‘The Bridge’ (2023) and ‘Kashi to Kailash’ (2025) explore resilience and spiritual depth, making her one of the most distinctive voices in modern music.

On the flip, SYREETA delivers a striking rework. Authentic and fearless, the UK favourite has shattered glass ceilings while drawing on chunky basslines and energetic grooves from house and techno to craft her own sound and style. Her remix injects ‘Bombay Acid’ with that signature low-end punch, while driving and harnessing the track’s cosmic energy for late-night dancefloors.Kunal Merchant has spent years building a sound that is simultaneously drawn from his South Asian lineage and futuristic. From appearances at Coachella, Hï Ibiza, Fabric London, and Brooklyn Mirage, to releases across the Indo House spectrum, he has become a central figure in shaping the genre and bringing South Asian voices to the global electronic stage. Indo Warehouse, co-founded by Merchant and Kahani in 2022, has evolved from its underground origins in New York into an international movement. Their live shows are immersive experiences, rituals where identity, tradition, and club culture collide, and their releases continue to push the boundaries of house and techno while remaining deeply grounded in their origins. With ‘Bombay Acid’, Merchant and Kumari deliver a production that is both hypnotic and expansive, inviting listeners
into a universe where rhythm, culture, and underground energy meet in unison.

Patami isn't a judo mat, an animal defense association or a kind of sausage. Patami is a concept unique to each individual and, above all, unique to singer Stanislas. Patami is a friend to all children. He's at their service, but he's also their king. For the audience, it's whatever they want it to be, as long as it's comforting! Patami is Astéréotypie's third album, an extraordinary musical adventure featuring post- punk, noise and electro sounds. There are also some lovely melodies. Patami will shake your heart with the myths, memories, concepts and rants of the four star MCs: Claire, Stan, Yohann and Aurélien, the greatest songwriters of the moment (a few guests are also expected)! In short, Patami is like nothing you've ever heard before, and what's more, it's a real comfort. Their previous record, Aucun mec ne ressemble à Brad Pitt dans la Drôme, released in the spring of 2022, was warmly received by the public and achieved great critical success. Since then, Astéréotypie has been playing headline shows and festivals all over France. The band's singularity has left its mark. After 10 years of existence, the collective has finally found its audience.

Mr Bongo proudly presents, ‘AFIM’, the second solo album by one of Brazil’s most exciting new talents, Zé Ibarra. You may be familiar with the hypnotic, entrancing tones of Ibarra’s vocals through his work with the Latin Grammy award-winning, four-piece, Bala Desejo and the band Dônica. He has also toured with the musical titan, Milton Nascimento, performing guitar and vocals, which is quite the honour and a testament to Ibarra's craft. As a solo artist, he has performed headline solo shows in Japan, Portugal and the US, as well as recently completing a support tour with the great, Seu Jorge.

‘AFIM’ is comprised of eight tracks, featuring Zé’s own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra "to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes.

The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.

His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusão', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum.

The album is the result of the collaboration of experienced musicians and long-time partners of Ibarra. Fellow Bala Desejo and Dônica member Lucas Nunes co-produced the album. The core band featured on the record consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar.

The overall feel of the record is archetypically quintessential without slipping into retro mode. It is a stunning album from one of the finest musicians of his generation. A true star of Brazil’s blooming contemporary scene.