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During the '70s, work days at Umiliani's Sound Workshop Studios were hectic; thousands of sessions were held in order to keep up with a very busy Italian movie industry: Hundreds of soundtracks alongside with music library were recorded and released on vinyl in very limited quantities for TV and film production use only. Those LPs are now proper collectors' items, extremely hard to find.

Filled with hypnotic bass lines, heavy drums and screaming fuzz guitars "Underground", the first LP of the fictitious group known as Braen's Machine, is one of the rarest and the most expensive of them all, always "reaching" sky high prices throughout the second hand vinyl market. A fast-beat jam with hammond scales and a twin lead guitar theme ("Flying") opens the A Side soon followed by "Imphormal", a classicfunk-beat-meetsfender- rhodes-and-psychedelic-guitar number. The music then switch to "thriller territories" with "Murder" which is based on prepared piano swells and a deeply hypnotic walking bass, reminiscent of the best Morricone's soundtracks for Dario Argento's movies. Two highly percussive songs complete the A Side: "Gap" is an improvised song with guitar and keyboards dwelling over an infectious drum rhythm while a marching snare and a vibraslap effect are the special features on "Militar Police".

The mood relaxes slightly on the opening of the B Side with a lazy jazz groove on "New Experience" but the rock influences are soon brought back on the following track "Fall Out". "Obstinacy" is all about keyboards with syncopated rhodes themes and distorted hammond sustained notes whilst the fuzz guitar is back again screaming through the left channel on the last song of the album, "Description". We could happly say that that was the golden age of the Italian music library. But who's behind the name "Braen's Machine" On the original cover the songs are credited to the composers Braen and Gisteri. Braen was a pseudonym often used by Alessandro Alessandroni, an extremely skilled and versatile musician, and one of Umiliani's closestcollaborators. He could write, conduct and arrange, he could sing (ever heard "Mah Na Mah Na"), he could whistle (ever heard Morricone's "For a fistful of dollars") and he could play almost anything: guitar, bass tuba, accordion, sitar and the list grows..... His first album "Alessandro Alessandroni e il suo complesso" (Sermi, 1969), had transformed the Italian library music from orchestral sound beds into the psychedelia we all love; the extremely fuzzy guitars are very "present" on "Underground" too. For a long time Gisteri's real identity was rather mysterious; often wrongly attributed to Umiliani. Gisteri was the pseudonym of Oronzo De Filippi, art name of Rino De Filippi, music supervisor to the Italian public broadcast company (RAI) between the '60s and the '70s. De Filippi composed other notable pieces such as "Riflessi" (Edipan, 1975) and "Nel mondo del lavoro" (Sermi, 1972).

De Filippi passed away few years ago but we were able to contact Alessandroni to talk about this LP. Remembering "Underground" recording session as one of the thousands he took part of, Alessandroni told us that this record was produced very quickly, in two days maximum. This was made possible by a team of wonderfully capable session musicians and the creative genius behind the mixing desk; this incredible combination helped to focus on the mood of each track even more. Unfortunately there are no liner notes but Alessandroni's memories and speculations, based on other music tracked in the same period at Soundworkshop by resident engineer Claudio Batussi, led us to identify this as the most probable lineup: Munari on drums, Majorana on bass, Vannucchi on keyboards and Alessandroni himself on guitar. For this reissue the sound has been restored and the cover art reproduced exactly as it was.

We call them the rat pack of our beat scene. With all diversity in sound, the three producers are unified in their love for dope beats and high-proof drinks, both catered and consumed with style and expertise.

Suff Daddy, the globetrotting gin connoisseur and minimoog player with domiciles in Berlin, Düsseldorf and Sydney. He has released three solo albums and has worked with artists like Miles Bonny, Fleur Earth, Ta-ku and Elzhi. After a one year stint in Sydney, he returned to Berlin this spring.

Brenk Sinatra, the Wien-Kaisermühlen homeboy, Westcoast rap fanatic and producer of the forthcoming MC Eiht album. Last year Brenk released the critically acclaimed S3 album together with US singer Miles Bonny and has laced beats for an armada of MCs from both sides of the Atlantic.

And last but not least Dexter, the Stuttgart based trip maker and platinum producer with a day job as a pediatrician. This June Dexter released his second solo-album 'The Trip' a homage to the psychedelic rock era and one of the most innovative and genre bending hip-hop albums of 2013.

All three first met at the Hi-Hat Club, the producer series that we started a couple of years ago with the goal to push and celebrate the art of beat making. With their respective volumes 'Suff Draft' (Suff Daddy), 'The Jazz Files' (Dexter) and 'Chop Shop' (Brenk Sinatra) each of the guys put the instrumental hip-hop thing on a new and different level. None of their beats need a MC to be complete, they are full songs in their own right.

The official birth date of the Betty Ford Boys was the 2012 Beat BBQ in Cologne where Dexter, Suff and Brenk performed together for the first time. Right after the now legendary gig, that was ended by police forces Suff Daddy left for Sydney so that most the recordings for the Betty Ford Boys debut album took place in the cloud. Right after his return to Berlin, the Boys jumped on the bus and played their first club tour which finished with a gig at the Splash Festival.

On August 30th, the Betty Ford Boys release their first album 'Leaders Of The Brew School' on Melting Pot Music. The record combines the best of three worlds and has a surprisingly chilled Westcoast vibe. It's perfect summer music, it's edgy and relaxed at the same time and keeps you thirsty for more ....

Reggae Classic! - Original album from 1981, recorded at Channel One with the Roots Radics as backing band plus full horn section! - Produced by Henry 'Junjo' Lawes, mixed by Scientist at King Tubbys studio. A must for every serious Reggae collection!

Mark Funk and Danny Cruz's Cruise Music label continues to offer-up the best of its digital-first EPs via the popular Vinyl Jams sampler series. There's a real sun-splashed, dancing-on-the-terrace feel to much of the music contained on this 14th volume in the series. Mark Funk steps up first with the loopy, filter-rich disco-house release of 'Never Never', which rises and falls in all the right places in search of hands-aloft action, before Makito drops the vibraphone solo-laden deep house-meets-garage-house flex of 'Heavy Vibes' (think Masters at Work collaborating with Roy Ayers and you're close), Over on side B, Danny Cruz serves up 'Sugar', a tooled-up, house-style re-edit of a joyous disco gem, while Filth & Smell's 'Panama Sweet Spot' is an electric piano and sax-loop-fired slab of thickset house funkiness.

For its second outing, Sonum invites Matteo Point, whose Acid People EP expands the label's catalogue with four cuts navigating the space between acid house, progressive textures and analogue-driven club music.

The title track, "Acid People," sets the tone with tightly wound 303 sequences, sparse drums and a hypnotic sense of momentum, landing somewhere between functional peak-time tool and late-night trip. "Fresh Morgen" follows with a rolling low end before gradually unfolding into darker, more melodic territory, recalling the subtle tension of late-'90s European underground records.

On the B-side, "Musika Progressiva" revisits progressive house without falling into nostalgia, reshaping familiar motifs through a contemporary lens while maintaining its analogue warmth. Closing cut "Vvvaneggg" shifts towards Detroit-inspired rhythms and understated machine funk, offering a stripped-back groove built for patient selectors.

Across four tracks, Matteo Point delivers a collection that feels both immediate and enduring—club-focused without sacrificing character. With Acid People EP, Sonum continues to carve out its own space, championing records that draw equally from the past and the future of underground dance music.

On edit imprint Disco Mind's tenth release, they hand over the reins to iconic Italian DJ, producer and remixer Beppe Loda, once resident DJ at influential rural club Typhoon during the 1980s - and it's that period that inspired the four scalpel jobs on show. 'Mr Rocket' is a chugging chunk of oddball early 80s headiness, while 'Tu Sei' sees Loda rework what sounds like a synth-laden fusion of space rock and intergalactic jazz-funk. On side B, he does a great job on spiralling, big hair-sporting disco-rock number 'Falling', before showcasing more spacey synths and chugging rock riffs on 'Marzio'.

Powerhouse vocalist Sandra St. Victor returns with Eleven, her eleventh studio
album and first solo release in over a decade. From her years with The Family
Stand to collaborations with Roy Ayers, Curtis Mayfield, Chaka Khan, Prince and
Lalah Hathaway, Sandra has built a remarkable career that has consistently
blurred the lines between soul, funk, jazz and gospel.
Executive produced by Sandra St. Victor and Patrick Gibin for Mother Tongue,
Eleven brings together Sandra's longtime collaborators alongside the Mother
Tongue family, bridging her rich musical legacy with a fresh, forward-looking
sound rooted in soul, jazz, boogie and soulful dance music.
The album combines brand new compositions with inspired reinterpretations,
from Kaidi Tatham's stunning reimagining of Captain Sky's Moonchild and his
masterful reinvention of the Leon Ware/Syreeta underground gem Tiki Tiki
Donga, to a beautifully understated new version of Sandra's own Dizzy,
originally released on Gemini: Both Sides in 2001 featuring Questlove, Roy
Ayers and Donald Byrd, here reimagined by Mark de Clive-Lowe. Along the way,
the lo-fi soul of Black Ice, the timeless duet No More Water featuring Lalah
Hathaway, and the straight-up funk of Makes Me Wanna Fall In Love Again and
What Would Miles Do showcase an artist continuing to evolve while remaining
true to her artistic voice.
Rooted in experience yet driven by curiosity, Eleven bridges Sandra's
remarkable musical legacy with the creative vision of Mother Tongue, resulting
in an album that feels both timeless and unmistakably

stray dogs is the second full-length album from the Finnish electronic duo Shepherd’s Call. Released on the BELOW0 label, the project blends moody, emotional ambient textures with experimental club beats and live cello arrangements. This physical edition is pressed on heavy 180g black vinyl and features exclusive vocal dub tracks on Side B with guest spots from 3NDLES5, Merely, and Glayden.

New remix series from the Veteran New York City producer / DJ / keyboardist Scott Wozniak.

2 Killer remixes of well-known artists given a new house music twist for the floors, evoking the golden era of The DFA (Darryl James, Fred McFarlane and Allen George) remixes on Fall Out Records in early to mid 00’s.

Limited Stock act fast!

The single is the latest collaboration from the pioneering electronic artist and follows “Intertwine,” which featured TT, aka Theresa Wayman of Warpaint. Other collaborations on A Body Of Voices include “Turns,” featuring the ethereal vocals of Nicole Miglis (Hundred Waters), and “True Love, Don’t Be Afraid” featuring Stephen McBean (Black Mountain & Pink Mountaintops), “Fight or Flight” ft. Aisha Badru, “Falling” ft. Maiah Manser and multi-instrumentalist Aaron Shaw, “Floating” ft. multi-instrumentalist and composer Spencer Zahn, and the unreleased track, “Take Me” ft. Raphaelle Standell-Preston (Braids, Blue Hawaii). A Body of Voices delivers the most collective and melodically driven project of his acclaimed quarter-century. Having spent decades mastering his natural instincts for space, tempo, and timing, LaValle set a deliberate goal to break beyond his usual parameters by inviting an expansive community of vocalists and marquee indie players into his realm. The resulting record pushes his sonic map entirely, seamlessly blending his signature, textural synthesis with a vibrant tapestry of voices spanning dream-pop, alternative, and R&B. Nearly thirty years into the project, A Body of Voices proves that while The Album Leaf remains unmistakably his, it is a pioneering musical universe he is never afraid to redefine.

This songwriting-focused approach on A Body of Voices marks a natural evolution for an artist who has been steadily making his mark as a soft-spoken innovator since 1999. Now based in Los Angeles, LaValle started out in the San Diego music scene, creating vivid, rhythmic, soaring instrumentals centered around the Rhodes piano. Over more than two decades of acclaimed releases on seminal labels like Sub Pop, City Slang, and others, he has become a definitive touchstone for meditative electro-organic music. While earlier milestones like 2023’s Future Falling and 2024's Blast EP found him increasingly renewed by outside perspectives, A Body of Voices brings that collaborative spirit to its full, unbridled potential.

Oscar Perry may not be a household name even in soul/blues circles, but this Texan's fine and expansive body of work deserves greater recognition. Throughout his career, he demonstrated multifarious talents as a producer, arranger, singer, songwriter and guitarist. He first cut his teeth in the late 1960s on Don Robey's Duke/Peacock/Backbeat set-up, writing for Bobby Bland amongst others. Once his contract with Robey had lapsed, Oscar signed with the equally colourful character Huey P. Meaux, for whom he recorded a slew of excellent albums on the Crazy Cajun imprint. It is the source of the three self-penned tracks presented here. Echoes of Jerry Butler can be heard on the string-laden emotive ballad "We'll Spend Tomorrow Falling In Love" (co-written with studio engineer Mickey Moody) with its femme support, whilst the piano-led deep beat-ballad "End Of The Road" was subsequently recorded by Bland on his Dreamer LP for ABC-Dunhill in 1974. The strong, mid-paced, bluesy "I Give Up You Win" completes this wonderful EP.

2023 Repress

2026 Repress

This is the first full-length release from South Korea"s beloved pansori psych-pop band available worldwide. The release follows an extremely successful and eventful year for LEENALCHI. They had their first-ever North American tour, opening for Japanese Breakfast at Stern Grove, sessions at KCRW and (rumor has it) KEXP, and in the fall, they"ll be on the East Coast, including opening for Geese at Forest Hills on the very same date this record comes out. LEENALCHI is led by the great composer Jang Young-Gyu, who has undoubtedly scored all your favorite Korean horror movies, including The Wailing, Train To Busan, and the Good, The Bad, The Weird. Sugungga sounds like animals talking to each other over tripped-out bass lines. It gets its name from the old Korean folk tale about a clever and loyal turtle who tries to lure a rabbit underwater and into the lair of a Dragon King who has come down with an illness that can only be cured by the rabbit"s liver. What is the fate of the rabbit? This fall, you will find out.

Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity. EverEve expanded their vision with "Stormbirds", an album that many regard as one of the defining moments of European Gothic Metal. Majestic, dramatic, and emotionally overwhelming, it elevated the band's songwriting to extraordinary heights. The interplay between crushing guitars, haunting keyboards, and deeply evocative vocal arrangements created a listening experience that remains as captivating today as it was upon its release.

Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity. EverEve expanded their vision with "Stormbirds", an album that many regard as one of the defining moments of European Gothic Metal. Majestic, dramatic, and emotionally overwhelming, it elevated the band's songwriting to extraordinary heights. The interplay between crushing guitars, haunting keyboards, and deeply evocative vocal arrangements created a listening experience that remains as captivating today as it was upon its release.

The Synewave label has legendary status amongst those who know and now boss man Damon Wild is back on it with a quartet of deep techno treasures. 'Avoidant' is a roaming, cavernous sound with gentle synth notes rising and falling over hefty kicks. 'Invincible' is more sci-fi in style with icy modulations and roaming pads over slinky, kinetic drum patterns and 'Organica' is a jumbled mix of feather hi-hats and more bleeping pulses with kicks pulled far apart. After the Detroit stylings of 'Coronas,' Sonic Mind records boss Donnel Knox aka D-Knox remixes it into something more direct and rhythmically rugged.

Belgian artist Jennifur announces MAZDA, an album inspired by long car rides, emotional transitions, and the strange beauty of existing between places, people, and versions of yourself.

Musically, MAZDA moves fluidly between genres and emotional textures, blending electronic love songs, indie rock structures, UK bass influences, cinematic electronica, and flashes of classical composition.

The project began when Jennifur's brother sent him a playlist called MAZDA, filled with songs their father used to play in the car. What started as a nostalgia gesture quickly became the emotional blueprint for the album.

While writing MAZDA, Jennifur realized he was unknowingly creating the soundtrack to a fictional romcom film that existed only in his imagination. Rather than avoiding clichés like love, heartbreak, growing older, or transition, he chose to embrace them wholeheartedly.

"In a car, you exist in a kind of in-between space," Jennifur explains. "You've left something behind, but you haven't arrived yet. That feeling became the entire record."

The album opener, From A to B, sets the emotional framework for the entire project. Its extended introduction mirrors the exact moment you pull out of your street and realisethat something new has begun.

Highlights include "I Need You To Hold On", written for Jennifur's brother as a message of encouragement. The song "I Once Had a Dream Where I Could Fly" originated from a conversation with his father about recurring dreams of flying. Meanwhile, "From The Sideline" confronts a quieter existential fear, becoming a coming-of-age anthem for anyone who suddenly realizes they have become more of a spectator than an active participant in their own life.

Tracks like "In The Sun" bring a softer, almost cinematic intimacy to the album. Written around the image of spending one final Sunday at the seaside with someone who is seriously ill, the song captures the beauty and fragility of fleeting moments. The closing track "The Dialogue Before We Left" serves as the emotional final scene of the album.

"For me, it's the moment after a long drive when you turn off the engine but stay seated for a minute," Jennifur explains. "You realise something happened. You listened to my story, and we travelled from A to B together."

This is both a blueprint and a definitive masterpiece. Effortlessly transcending eras and genres, Terumasa Hino continues to captivate audiences around the world.



His sound and presence are truly top of the tops. Long before Japanese jazz was labeled as “Wa-Jazz”, and even before the rare groove movement emerged, Hip Seagull has been shaking dance floors, stimulating listeners, and fascinating collectors alike. Since his debut album Alone, Alone and Alone, Terumasa Hino has remained at the forefront of the scene, consistently delivering works that can be called masterpieces in every era. Among them, this 1978 recording stands out as one of his signature achievements.



From the epic title track “Hip Seagull”, which unfolds from a mystical intro into a jazz-funk journey, to the mellow and cosmic “This Planet Is Ours,” the album is filled with tracks imbued with a truly unique atmosphere.



This is both a blueprint and a completed form. Hip Seagull continues to enchant the past, present, and future alike.

Houston’s premier street griot is stepping into his most profound chapter yet with his highly anticipated upcoming album, O.Y.N. Throughout a decorated career that spans over 1.2 billion global streams and a fiercely loyal fanbase, Maxo Kream—born Emekwane Ogugua Biosah, Jr.—has established himself as one of rap’s most authentic, uncompromising storytellers. From the raw trenches of Alief to the critically acclaimed triumphs of Punken, Brandon Banks, Weight of the World, and his triumphant 2024 independent pivot Personification, Maxo has long been celebrated by Pitchfork, NPR, and Complex for his cinematic, hyper-detailed world-building. Now, O.Y.N. finds the Houston icon turning his gaze inward, pairing his signature Texas grit with an expansive, global perspective that redefines his artistic boundaries.

If his previous work was about Maxo taking full creative control as an independent force, O.Y.N. is about him uncovering who he is at his core. Following the passing of his father, Maxo found himself searching deeper for his family origins, leading to a pivotal moment of artistic and personal rebirth. For the first time in his life, Maxo traveled to Lagos, Nigeria, anchoring his new music in a profound celebration of his Nigerian heritage. The emotional centerpiece of this journey is the JPEGMAFIA-produced single “Time Out,” an introspective track that moves away from the frantic energy of his past releases to offer a stripped-back look at love, loss, and legacy. Featuring a heavy, resonant drum presence on the outro, the song’s accompanying music video was filmed on location in Lagos, capturing Maxo navigating his ancestral roots in real-time.

While O.Y.N. reaches new emotional depths, it doesn't sacrifice the hard-hitting, volatile street persona that made Maxo a star. The album expertly balances soul-baring vulnerability with cutting-edge hip-hop experimentation, showcasing elite chemistry with some of the genre's most forward-thinking visionaries. Look no further than “Fake Jeezy,” a collaborative explosion featuring Denzel Curry and masterminded by JPEGMAFIA. The track is a masterclass in industrial chaos, combining sharp lyricism and early-2000s trap imagery with cold, surreal visual aesthetics. This duality highlights Maxo's unique positioning in the culture as a trusted street general who can effortlessly trade bars with rap's avant-garde elite.

From his early days flipping Kendrick Lamar's “Rigamortis” to sharing marquee tracks with the likes of A$AP Rocky, Travis Scott, and Tyler, The Creator on hits like “Big Persona,” “Cracc Era,” and “Cracc At 15,” Maxo Kream has always been a rapper's rapper. O.Y.N. represents the ultimate synthesis of this incredible journey. It is an album born from the soil of Alief but elevated by the spirit of Lagos—a raw, beautiful, and heavy-hitting testament to an artist who has survived his past, honored his losses, and fully embraced his destiny.

***
Needle scars.
Our last lullaby.
Cold winter morning,
the affairs of his life pass by.

***

SECOND REISSUE ON THIS HEAT’s OWN NEW IMPRINT FOLLOWING ‘THIS HEAT’ (TH01LP) WHICH WAS UNCUT ‘REISSUE OF THE MONTH’ RECENTLY WITH 9/10 REVIEW + 4-PAGE FEATURE WITH Q+A.

*24 bit/96 kHz re-master from original analog tapes.
*Heavyweight 180gm vinyl and heavyweight sleeve with pantone printing to match original 1979 release.
Simon Reynolds on Health and Efficiency:

“For some fans, Health and Efficiency is This Heat’s peak achievement – their most concentrated blast of visceral intensity and wayward experimentalism….Lead track “Health & Efficiency” combines fierce angular rock that fully lives up to Cunningham’s belief that This Heat could become a postpunk King Crimson, with a multi-part babble of vocals, clattering percussive timbres, and found sounds.’’

Flipside “Graphic/Varispeed” is more subdued and hypnotic: a wavering tonescape whose duration depends on whether you play it at 45 rpm or 33 rpm. This reissue reproduces the original release’s striking cover image of a human figure painted in blue by Pete Cobb, along with the cryptic flipside of text in many different languages.

Although widely considered to be Post-Punk’s finest, This Heat actually began performing and recording their music in 1976, the early days of London’s punk era. Within their two albums and an EP they perfected a strange and volatile new strain of avant-garde rock that time has proved to be massively influential, a blueprint for much that would follow: post-rock, math rock, homemade musique concrète, experimental electronica. Numerous critics have recognised the band's influence on the music of Sonic Youth, Glenn Branca, Steven Wilson, Public Image Ltd., Radiohead, Swans, Shellac, Young Knives, Black Dice, Lightning Bolt and numerous other experimental and post-rock bands.

Disbanding in 1982 they have left an undeniable legacy that has only continued to grow in stature and relevance.Having recently passed the 50 year anniversary of their first gig, and the recording of material that appears on their debut album, the group’s surviving members Charles Bullen and Charles Hayward, true to their DIY roots, have set up an imprint to release their recordings for their growing fan base that is increasingly recognising their influential place in music history. 


‘They went beyond punk before punk had properly started…the entire album is a controlled explosion of ideas. Nearly fifty years on, This Heat’s debut is something the world has still not completely caught up with.’ - Simon Reynolds

‘Over the years, there have been bands to play as aggressively, or even as strangely, but very few have been able to rise from their collective influences and histories to create music so singularly distinctive and inspiring.’ – Pitchfork 9/10

‘This Heat sounded like the future then ... and still do now.’ - Dan Snaith (Caribou)

‘This Heat had a certain kind of force the post-punk bands were unable to adequately control without falling foul of rawk excess, and which the punk bands—albeit blitzing and rowdy—were too basic in form to build.’ – John Calvert , The Quietus


There's something about summer that makes everything fall into place. Maybe it feels even more significant to us, especially if you know MM Discos through its Balearic leanings. It's that time of year when the whole scene reaches its peak, with everyone dreaming of being in Ibiza-or at the very least, somewhere on a forgotten beach or island in the Mediterranean.
For that very moment, Desert Island Disco make their MM Discos debut with a record tailor-made for the summer of 2026. Splitting their time between London and Lisbon, the collective have already shown a deep affinity for African-rooted midtempo sounds through releases on Shades of Sound and Mister T Records, alongside a steady stream of sought-after self-released edits on their Bandcamp.
This time, Desert Island Disco dive headfirst into South Africa, drawing deeply from the worlds of Kwaito and Bubblegum to deliver a record steeped in the warmth, groove and unmistakable spirit of both genres.
From its South African foundations, *World View* reaches far beyond, weaving together tropical textures, Caribbean flavours and Balearic sensibilities into something fluid and difficult to pin down. A borderless collection where geography becomes secondary to feeling, yet every track remains firmly rooted in the dancefloor.

Flug brings his singular vision to Backspin Records with 'From My Soul', a 7-track EP that marks a powerful new chapter for both artist and label, rounded out by a remix from Kashpitzky. Moving between deep emotional techno, raw percussive functionality and high intensity, the release showcases Flug's signature precision and narrative depth while keeping things classy and never falling for overused tropes. Kashpitzky completes the package with a remix that reinterprets the source material from a darker, more straight-forward angle. ??

Opening with the title track 'From My Soul', Flug sets off on an epic 8-minute journey built on reverberating melodic layers, shimmering chord pads and a strong low endthat unfolds slowly and deliberately, balancing emotional weight with a hypnotic drive. 'Make It Loud' follows with a more stripped, functional direction, where warm low-end energy, minimal percussion and reverb-drenched sine wave synth hits create a tight, circular groove anchored by a subtle but sinister vocal presence. ??

On the flip side, 'Human Instinct' turns the energy more direct and physical, driven by a saturated kick drum, looping synth motifs and sparse vocal cuts that heighten tension without disrupting the flow. 'The Awakening' expands the emotional scope with a deep kick and tom-driven bassline, expansive droning pads and dragging percussion that build a rich, cinematic atmosphere. Kashpitzky's remix reimagines the original at a faster BPM with distorted chord stabs, off-grid hi-hats and layered synth work creating a tense, industrial atmosphere that breaks into a spacious breakdown before dropping back into a stripped,high-impact groove. ??

With the 'From My Soul' EP, Flug marks a strong first statement on Regal's Backspin Records, delivering a cohesive body of work that balances depth, emotion and dancefloor utility, reinforcing the label's dedication to innovative techno.

R.M.F.C. sound like? Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band. Indulge me. If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking. Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band. Few bands manage to sound like all 3 records, but R.M.F.C. are a Rock Music Fan Club...

Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.

‘Bands like Devo, The Fall, and The Birthday Party have set the way for this type of post-punk rock (all in their own way). Surely, also, the rock scenes of the past fifteen years in Australia have also been influential. Thinking of bands like Royal Headache, Dick Diver, and Eddy Current Suppression Ring, there’s even been a fairly recent tradition of expanding styles of rock and roll (let alone the bigger, famous rock-centered acts). The Sydney based R.M.F.C., and the scene (or friend circle) from which it’s emerging, is carrying a torch of rock music which has the potential of a wider appeal.’ - POST-TRASH

R.M.F.C. sound like? Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band. Indulge me. If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking. Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band. Few bands manage to sound like all 3 records, but R.M.F.C. are a Rock Music Fan Club...

Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.

‘Bands like Devo, The Fall, and The Birthday Party have set the way for this type of post-punk rock (all in their own way). Surely, also, the rock scenes of the past fifteen years in Australia have also been influential. Thinking of bands like Royal Headache, Dick Diver, and Eddy Current Suppression Ring, there’s even been a fairly recent tradition of expanding styles of rock and roll (let alone the bigger, famous rock-centered acts). The Sydney based R.M.F.C., and the scene (or friend circle) from which it’s emerging, is carrying a torch of rock music which has the potential of a wider appeal.’ - POST-TRASH

Coming off his first two years as a solo artist, Nick Schilder paused for a moment of contemplation. How do you keep growing as an artist, and continue making music without falling into routine? Returning to his artistic foundation—guitar on his lap, hours behind the piano—the Dutch singer-songwriter let intuition guide him, leading to his brand-new EP, Reflections.

After a summer jam-packed with festivals, Reflections provides contrast—the tracks harness a more organic sound, hitting closer to the heart, drawing from folk and pop while leaving space for the echoes of his foray into electronic music to resonate. From ‘Made For You’ to focus track ‘Die For You’ and ‘A Little More Like Me’ marking the turning point, this EP offers a sonic snapshot that bridges two seasons, a creative reset born of reflection.

Reflections is available as a limited edition on transparent vinyl. The package contains an insert with lyrics.

Hailing from Athens, Georgia, Now It’s Overhead is the acclaimed indie rock band fronted by Andy LeMaster. Emerging in the early 2000s alongside the era-defining Saddle Creek scene, LeMaster collaborated with artists including Conor Oberst (Bright Eyes), Michael Stipe (R.E.M.), Orenda Fink (Azure Ray), and Maria Taylor (Azure Ray).

During this period, Now It’s Overhead released three acclaimed full-length albums: Now It’s Overhead (2001), Fall Back Open (2004), and Dark Light Daybreak (2006). Available on vinyl for the first time, these long-awaited editions are essential for listeners and collectors exploring the indie rock landscape of the early 2000s. All three albums have been newly remastered by Andy LeMaster—musician, songwriter, engineer, producer, and visual artist.

The Associated Press described Now It’s Overhead as “a unique brand of organic and synthetic dark pop—made possible by LeMaster’s studio prowess—that remains distinctive even when Conor Oberst and Michael Stipe briefly stop by.”

Accompanying these reissues, Now It’s Overhead is also releasing new music for the first time in nearly twenty years. The five-song EP, in the beginning, arrives digitally on September 18, 2026.

Reissued in 2026 for its 10th Anniversary on limited edition double vinyl 1 X Blue 1 X White, showcasing sought-after tracks from the catalogue.

Rebirth 10, a limited double CD released in 2016, celebrated the 10th anniversary of Rebirth Records. Curated by one of the greatest names in House Music, Larry Heard, aka Mr. Fingers, it featured key releases from the label's first decade.

Featuring original music and remixes from Larry Heard himself alongside further legends of the scene such as Motor City Drum Ensemble, Joe Clausell, Andrés, Jamie 3:26, Ripperton, and Mr Fingers himself. This compilation shines a light on forgotten classics from one of House Music’s most influential labels of the past 20 years. True house from THE house producer of the scene.

Blossoms return with their 6th studio album, ‘Songs From The Wedding Cake’. Featuring singles 'Meet Me In Love' and 'Joke About Divorce', the Wedding Cake, nickname for Stockport’s Town Hall where band member Tom Ogden got married, spans 10 tracks and follows up the 2024 number 1 album 'Gary'. The album, produced by Shawn Lee, was recorded entirely to tape & is due for release 2nd October 2026.

Living Weapon returns with Death In The Family, a full-length that confronts mortality, meaninglessness, and the aftermath of existence. The release broken down over 23 minutes toward an unresolved end — life examined at its start and its finish, with the universe indifferent to either. Recorded, produced, and engineered by Jeremy Martin over fall 2025 into spring 2026 — the band's first time tracking a full album internally. Mixing handled by Taylor Young of The Pit Recording Studio and Mastering by Nick Townsend. The album is introduced with "The Leaving Process” laying out the album's core idea: life as connection, not permanence — matter created and destroyed, briefly aware of itself in between.

On The Allfather Awakens, Amon Amarth created a definitive 10-song masterwork that further cements the legacy of the lineup’s spectacularly memorable riffs and unflinching aural power. The opening track of The Allfather Awakens, the epic tale of “Gjallarhorn,” is followed by the heroic battlefield tale “Eight Legs of Thunder,” while “Upphaf,” a translated stanza from the prophetic poem Völuspá, marks the band’s first-ever acoustic offering. The iconic Swedish melodic death metallers took a new songwriting approach for The Allfather Awakens, the band’s 13th album since 1998’s Once Sent from the Golden Hall. The Allfather Awakens came to life across two recording sessions, months apart, at producer Jacob Hansen’s studio in Denmark. Amon Amarth began writing songs while touring, rather than waiting until they were off the road. The first session was Spring 2025; the final recording was completed in March 2026.

On The Allfather Awakens, Amon Amarth created a definitive 10-song masterwork that further cements the legacy of the lineup’s spectacularly memorable riffs and unflinching aural power. The opening track of The Allfather Awakens, the epic tale of “Gjallarhorn,” is followed by the heroic battlefield tale “Eight Legs of Thunder,” while “Upphaf,” a translated stanza from the prophetic poem Völuspá, marks the band’s first-ever acoustic offering. The iconic Swedish melodic death metallers took a new songwriting approach for The Allfather Awakens, the band’s 13th album since 1998’s Once Sent from the Golden Hall. The Allfather Awakens came to life across two recording sessions, months apart, at producer Jacob Hansen’s studio in Denmark. Amon Amarth began writing songs while touring, rather than waiting until they were off the road. The first session was Spring 2025; the final recording was completed in March 2026.

Liberation Front is a statement of pure intent from Sydney, Australia's TO THE GRAVE. Brutal and uncompromising in both sound and message, TO THE GRAVE create ugly music for uglier times. They rage against animal cruelty and environmental destruction, translating their death metal-infused deathcore into something unforgettable and utterly uncompromising. From the breakdown-laden assault of opener "MEAT THE HUMANS", Liberation Front is a suffocating return to form for the veganism-espousing quintet. While recent releases explored more hardcore-oriented territory, this album embraces deathcore at its most savage and relentless. Lead single "EYESTALK ABLATIONS" is a devastating statement, accompanied by a video every bit as violent and unforgettable as the music itself. Over the past 15 years, TO THE GRAVE have established themselves among the leading names of Australia's emerging deathcore scene, sharing stages with fellow Australians Thy Art Is Murder as well as international heavyweights including Lorna Shore. The band continues to tour extensively throughout Europe and North America, returning to the US and Canada in Fall 2026 alongside Crown Magnetar. Liberation Front is more than an album—it is a musical and lyrical call to arms, designed not only to rage against the machine but to educate, provoke and challenge listeners on every level.

2026 Re-Release

After smooth detours into Soul covers, French Neo-Disco, modern Sunset Disco and Brazilian AOR, in 2022 DJ Supermarkt's Too Slow to Disco series makes a joyous return to its original Westcoast AOR/Yacht roots. Celebrating the 10th TSTD compilation. Who would have thought….
The Berlin curator releases a killer 4th edition of the original compilation art form, "Too Slow to Disco", featuring forgotten and overseen gems from the mid 70s to the early 80s from a global world of smooth, brilliant lost and overproduced tracks from Finland via London and L.A. to Trinidad and beyond.
The great 'un-vanisher' of lost lazy classics, DJ Supermarkt once again unearthed some incredible music that labels, publishers (in many cases also those, who actually own the rights to those tracks…) and streaming services have often long overlooked. You're welcome, world!