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Gnod's now twenty year journey through spiritual and audial exploration has been driven by relentless curiosity, magpie irreverence and a fierce countercultural imperative, their project has always refused to acknowledge all or any rules and boundaries, internal or external. The latest adventure of this band may never have been intended to celebrate their two-decade anniversary, but in true Gnod fashion by, what began as a trip into a residential studio setup in Hellfire Studios with producer John `Spud' Murphy (Lankum, Black MIDI, Caroline) for six days, resulted in more potent material than anyone bargained for. The end result has been three studio albums to be released over the next year. "This trilogy revealed itself to us in the studio" says Paddy. "We were hoping to get a good album out of the session and lo and behold we got three of the fuckers. It's interesting that we did pretty much capture the full spectrum of the Gnod sound across all three". In fact, this intrepid first instalment of the `Chronicles Of Gnowt' trilogy covers an alarming amount of sonic territory all on its own. Driven as always by the power of repetition as well as Gnod's alchemical marriage of the maximal and the minimal, this album is imbued with a vivid focus that's testimony to the chemistry of the sessions, coupled with a detailed and spacious production from Murphy that brings out the psychedelic sound worlds of the band in vivid colour. This is a travelogue which delves into pastoral tranquillity (as on `Three Trees Parts 1&2') just as adeptly as expansive Earth-tinged riff monoliths (`All Tunnel No Light') and just as formidably as the closing epic `Ekstasis' - a hallucinatory vista where kraut-tinged experimentalism meets Swans-style intensity. Yet all the while, truly sounding like no one but Gnod.

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Northern Earth is Dean McPhee's sixth full-length album and the second release on his own label, Bass Ritual. Expanding on the low-end focus of 2024's Astral Gold and last year's The Bradford Boar on the Folklore Tapes label, Northern Earth integrates overdriven guitar, a wooden snare drum pedal and a powerful 18-inch subwoofer, pushing his sound further beyond the sparse fingerpicked solo guitar of his earlier releases. Drawing on influences from psychedelic rock, British folk, dub and underground electronic music, the album's three expansive compositions - including the side-long title track - were honed through live performance and recorded live with no overdubs at McPhee's home in Bradford. His solo setup - stacked valve amps, subwoofer, guitar, percussion pedals and expansive pedalboard - now functions as a single self-contained instrument, layering hypnotic basslines, ritualistic loops and fluid melodies with physical weight and a deep sense of space.

“At this point in his career, each new Dean McPhee release feels like a legitimate event” – Brainwashed

“There’s really no one else who can create (and sustain) the darkly seductive mood that’s embedded within his work.” - Aquarium Drunkard

“Dean McPhee stands out as a true one-off in a crowded field.” - Loud & Quiet

There is a pivotal scene in “August in the Water” (dir. Sōgo Ishii, 1995) where the surface of a pool turns into a stone wall. The water that gave the protagonist's life its meaning becomes a threat. As you fall through this stone wall, you appear in a set of underwater coral-reef corridors, and one of the most beautiful musical themes begins to play: Aquatic Ambience, composed by David Wise for Donkey Kong Country (1994). It's a theme that represents the weightless vibe of your new deep-sea life, where you go about your mundane errands, collecting bananas while driving on a swordfish, or, as HerzMayhem put it: "Poor monkey... always swimming, never going anywhere..."

Synthetic Water Music is the second of three compilations, following Synthetic Bird Music and timed to mappa's 10th anniversary. As with the birds, it gathers friends of the label, artists who have released with mappa or played our shows. Most of the music is new, made to measure for this compilation, much of it from Central and Eastern European hands. Birds and water mix well, so please feel invited to play them together, creating your own environments.

Where the birds were in one flock, water is dispersed across four chapters. You live your life as a droppity drop: vapour in the heavens, condensing in clouds, falling into a swamp, trickling into the deepest sea.

Tlālōcān (Cassette 1, Side A)
A place of eternal spring, of aquatic energy that nourishes everything and allows all things to bloom. Bubbly and splishy-sploshy, it is full of dripping sounds and moist caverns (“Emerald Pool” by Pauline Anna Strom), a landscape filled with living fountains (“Oh, to be a Fountain” by Eva Sajanová) and winding streams that flow through the area, forming part of its organic architecture. It is also a paradise reserved for those whose deaths were water-related, where the aquatic and terrestrial beings live in symbiosis and perspectives shift rapidly, from observing a single droplet (Shakali, Lau Nau) to dew (Feronia Wennborg & Lucy Duncombe) and on to flowing currents (Visible Cloaks) that gradually transform into river music (Ursula K. Le Guin & Todd Barton).

Nephelora (Cassette 1, Side B)
A celestial anti-gravity sound world made of evaporation, steam and the formation of clouds, as if looking at “The Sky At The Bottom of the Well” (by Natalia Beylis) or at “The Cloud That Never Rains” (by Henrique Vaz).

If a cloud never rains,
it is not a cloud at all, but a veil that parches the earth with its gaze.
It generates only its own shadow —
a looming mass of suspended longing,
a sky that hoards but never yields,
a reservoir that swallows every river and returns nothing but echoes.

The water in this world is often invisible but sometimes all the more present, as Bint Mbareh describes it: “Recently been obsessed with invisible waters because I come from a place where you have to imagine the water is there even though you cannot see a river, a sea, usually no rain, so water is in the air, the voice and the imaginal realm, drought is imagined to be negotiable.”

Žaboglach Zha-bo-glahch (Cassette 2, Side A)
A fusion of Scottish lochs and Slovak ponds: a misty, foul-smelling, swampy realm, the kind of place that swallowed Artax from The NeverEnding Story. Stagnant waters full of decay become a blooming habitat for sirens (“thereby losing the weightless delight of being swept along with it” by Adam Badí Donoval) and beings straddling the line between fauna and flora, inventing their own communication systems (“Water-lily phase” by Action Pyramid).

R'lyeh (Cassette 2, Side B)
A brooding sunken city at the bottom of the ocean. It’s a journey to get there. Let this chapter guide you, from the shore down to the depths, to the gates of an unexplored world that is inherently dark, unfathomable, and beyond the limits of human perception: starting with seasickness ("Seasick" by Nikolaienko), passing through a classic Poe-esque maelstrom ("Flurry at the Whirl-pull" by Atte Elias Kantonen), a gateway into the darkness and emptiness of the ocean floor, and finally traversing the city itself (“last waves of 2025” by Jules Reidy).
But what is pulling you to a place like this that only a few explore and even fewer leave? Maybe “the darkness that water can contain, the expanse of things we don't know and that can trigger fear instincts even as we try to rationalise them and think we are in control of the rest of nature” (“supercritical fluids” by Diane Barbé).

Dive in and surface wherever you like. Always swimming, never going anywhere. Just don’t forget to take water breaks.

P.S. Birds, then water, can you guess what comes next? Synthetic Soil Music, an elegy for insects and worms? Synthetic Glaciers, or maybe Pollinators? Which sounds would you miss the most if they disappeared? Or what if the third one never comes at all, and somebody, or something, makes Synthetic mappa Music instead. Don't you worry, with the right training data, it can all be replicated, better than the real thing.

After a career spanning over thirty five years, from UK underground upstarts and outliers, to major success on the international stage - including tours with UK icons Iron Maiden and genre legends Dio - My Dying Bride have themselves become a firmly established pillar of metal history with a refined and influential brand of Death/Doom metal. With enduring popularity across subsequent decades, My Dying Bride remains a productive and captivating vessel for tragedy and despair, with their studio output spanning fourteen full-length albums to date.

As part of the “Peaceville Three”, along with fellow countrymen Paradise Lost and Anathema, My Dying Bride truly became a primary force in highlighting Britain as an epicentre of this Doom revolution of the time, creating a highly distinguishable sound assisted by the inclusion of violin & a more poetic approach to the delivery of morbid and salacious topics, lending an additional air of eccentricity and eloquence to the darkness.

Anthology of Sombre Reflections is an expansive and comprehensive collection of the early and much-celebrated works of the Doom Gods, from the formative deathly rawness of the revered Towards the Sinister demo, ‘God is Alone’ 7” tracks and subsequent debut album, As the Flower Withers, through to the gothic-tinged funereal seductive delights of 1996’s highlight, Like Gods of the Sun.

With the addition of all-time genre classic opuses Turn Loose the Swans, and The Angel and the Dark River also representing My Dying Bride’s much-loved early to 90’s period, the band’s three cult EPs are also featured in this deluxe eight-vinyl boxset, with each record presented on 180gm heavyweight black vinyl. The four studio albums themselves have also been treated to new half-speed masters courtesy of Air Studios.

Accompanying the audio is a 48-page book featuring photographs and artwork, plus new interviews with Andrew Craighan and Aaron Stainthorpe exploring some of the influences and thought-processes behind the creation of such cherished works of the 90s, as well as reflections of their output over this period.

Anthology of Sombre Reflections also contains 2 large posters depicting the Turn Loose the Swans CD artwork image, plus the original poster included in As the Flower Withers. A selection of photo prints of the band from this era are also included.

They're leaders of a new generation of songwriters who honour the genre's history while pushing its boundaries, too - musicians who treat bluegrass not as a tradition, but as a living, breathing language. That language evolves and expands with Appalachian Smoke , an album that combines the live- wire energy of the band's concerts with the bold, wide-open exploration of the recording studio. Produced by six- time Grammy winner Vance Powell , Appalachian Smoke came together during a whirlwind era that found Mountain Grass Unit hitting the highway, transforming their grassroots audience into a national following. For years, they'd squeeze their concerts into the narrow margins of long weekends and summertime breaks. When college graduation spilled the musicians out into the real world in 2025, Mountain Grass Unit committed fully to the road, selling out more than 30 shows that year and winning the International Bluegrass Music Association's Momentum Artist of the Year award.

For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms.

The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location proved crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.”

SUNN O))) have long welcomed collaborators into their self-contained world: past work has featured, Attila Csihar (Mayhem), composer Hildur Guðnadóttir, multi-instrumentalist Steve Moore, polymath Mark Deutrom, Silkworm’s Tim Midyett and legendary singer-songwriter Scott Walker. But on this album O’Malley and Anderson found fresh possibilities in the primal territory of the duo format, performing all the instrumentation themselves. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators has been really fresh and exciting,” says Anderson.

The compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Amidst howling feedback and glacial crunch, one finds surprisingly delicate moments: a field recording of water trickles beneath, piano interludes lend a hushed, solemn feel. All while the duo attains fresh heights of telepathic intensity as they shape music that breathes the bracing, earthy air of the Pacific Northwest.

Framing the album visually are two paintings by the late American artist Mark Rothko. Liner notes are by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the relationship between humanity and nature. Through the work of the band, Macfarlane, and Rothko, sound, word and visual combine into a fully immersive experience that is undeniably, completely SUNN O))).

The West Coast's contribution to hardcore punk is undeniable. That tradition of aggression, passion, and scrappy melodicism continues with The Barbarians Of California, an engaging new manifestation of iconoclastic spirit and true bombast. Born from the shared passion of Aaron Bruno (AWOLNATION) and his longtime engineer Eric Stenman - who cut his teeth in the same Sacramento community that eventually launched diverse and disparate acts like Deftones, Far, Will Haven, Team Sleep, Hella, Dance Gavin Dance, Death Grips, and Trash Talk - the spirit of the underground and the personal catharsis delivered through metallic hardcore never left either of them. So, when Aaron learned that Eric crafted a batch of throwback bangers combining impassioned angst with modern sensibilities, he wanted in immediately. The Barbarians of California was born.

In 2024, the band released their debut album, And Now I'm Just Gnashing My Teeth, and celebrated with a high-energy show at the iconic Troubadour in Los Angeles, cementing their place in the hardcore scene's next chapter. Since then, they've continued to build momentum with headline shows across LA, a summer 2025 arena tour with Deftones and other festival appearances that brought their explosive live presence to a wider audience. Dropping two new singles in 2025 including a collaboration with Keith Buckley (Every Time I Die/Many Eyes), The Barbarians Of California are gearing up in 2026 for the release of their sophomore album, MEGATONS. With their second full length, The Barbarians of California are unleashing fresh chaos straight from the sun-soaked, teeth-gnashing heart of the Golden State. Blending raw hardcore energy, razor-sharp riffs, and that signature mix of ferocity and tongue-in-cheek humor, these new songs hit like a caffeine-fueled fever dream.

London's Spearmint follow-up their acclaimed 2023 record `This Candle Is For You' with the ambitious new concept album `Chase Me' New single "1986" evokes a time when the world wasn't connected by technology, but there was still a strong connection across the globe: music. Specifically in the song, it's folk in Newcastle and Madrid who are dancing to the same music. The vinyl version also features an exclusive track "Is It Just Nostalgia?" which sees the band time-travelling past `The Tube' and `Soul Train` to Friday nights of the past. Standby for the follow-up single in July_ Spearmint have been making great records since debut `A Week Away' in 1999 (`Sweeping The Nation', `A Trip Into Space', `We're Going Out'). Still the same line-up: Shirley Lee (singing, guitar), Simon Calnan (singing, keyboards), James Parsons (guitar) and Ronan Larvor (drums). This will be their eleventh album proper and the 65th release on their own hitBACK label. Re-united with producer Rhodri Marsden (Scritti Politti, Cardiacs), the `Chase Me' album tells a story of success, disillusionment, disconnection, peril, and resurrection. Anchored by three chases across a city at night, book-ended by two out-of-body experiences, and working towards a suite of uplifting love songs, it's a thriller, it's a horror, it's an allegory. Song-writer Shirley explains "The story would make a good movie I think_ but we don't know how to do that, so we did this." `Chase Me' will be available digitally, and on limited edition CD and vinyl. The vinyl version will be released on WIAIWYA records, and will include an exclusive 24 page full-colour lyric book, including photos and illustrations. Spearmint will premiere songs from the album alongside tracks from their catalogue that haven't been played for years, or ever in one instance, live at Colours in Hoxton, London, on Tuesday 29th September 2026.

2026 Sakura Pink coloured vinyl, 2022 Abbey Road remaster, cut-out artwork! When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album 'World Music' - there was, and there still isn't, anyone else on earth quite like them. With their enticing mythology, music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. 'World Music', received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe. 'World Music' is brimming with tracks now seen as 'classic' Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of 'Disco Fever', the fuzz abuse of 'Goathead', the post-punk groove of 'Let it Bleed', the sing-along repetitive pop of 'Run to your Mama'... From the first note to the last, 'World Music' oozes with a sonic confidence rarely seen on a debut album. What Goat have is unique - they've managed to create a sound unrestrained by genre or any other boundaries. So if you haven't done so already, then it is now time you joined the Goat commune. 300 ww copies only!

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

“a messy, glorious, noisy document of internet café-era indie life that sounds best when sung by heart.” 8.3/10 - Pitchfork

“full of half-heartfelt, half-hilarious songs that capture the rush of being young in a noisy new century.” - 10/10 - Entertainment Weekly

“smart, immediate, and anthemic” - 10/10 - The AV Club

Ancient Infinity Orchestra return with their third album, It’s Always About Liberation, a new record that deepens the vision of their acclaimed recent work while moving into darker, more searching emotional territory.

Conceived as a partner to It’s Always About Love, this new body of work shares its predecessor’s generosity and spiritual openness, but carries a different charge. Where the previous album focused on healing and warmth, It’s Always About Liberation is largely animated by struggle, perseverance and the desire for transformation while still offering a path to betterment. It is music made in full awareness of a fractured world, yet unwilling to surrender to it.

Like It’s Always About Love the album title draws inspiration from words spoken by Moor Mother during their 2024 We Out Here festival performance that deeply affected bandleader Ozzy Moysey: “It’s always about love / It’s always about liberation.” Those twin ideas became a framework for the two albums Ancient Infinity Orchestra were creating. If one album explored love as repair, this one explores liberation as movement, continually striving toward freedom, clarity and deeper connection.
The 16-member ensemble is led by double bassist and composer Ozzy, with a distinctive line-up that explains their sound better than any artificial genre divisions: two double basses, harp, saxophones, clarinets, violin, viola, cello, oboe, flutes, mandolin, congas, piano, drum kit, with bells, shakers and other percussion instruments scattered on the floor of live sets and recording sessions, ready for members to use whenever the spirit takes them.

This orchestration, and the overlap between membership and friendship, gives Ancient Infinity Orchestra a sound that is at once expansive and intimate, earthy, and cosmic, constantly shifting yet grounded in shared intention. The attention to intention and the inviting sonic world connects the music to artists ranging from Alabaster dePlume to Gondwana label boss Matthew Halsall.
Gradually, the Orchestra became a grounding force in the emerging jazz scene in Leeds, bringing together individuals from different musical backgrounds co-founding the Café Oto-inspired Limpet Club or co-hosting the monthly Sonic Plunge (‘a platform for adventurous experimentation’) and co-founding the Leeds Improvisers Orchestra. Additionally, the ensemble acted as a bridge between musicians in Brighton and Leeds, after Ozzy spent a stint back on the south coast between 2020 and 2022.

Their debut, River of Light, was a vibrant celebration of togetherness recorded in three days and released on Gondwana in 2023. A Maida Vale session for Jamie Cullum’s BBC Radio 2 show brought them to a broader audience, as did bookings at North Sea Jazz Festival and Gretchen, Berlin. Since then, Ancient Infinity Orchestra has become a by-word for music that could be framed as ‘spiritual jazz’. Whilst Ozzy avoids the phrase when describing his music, he’s crystal clear that his heroes are associated with those words – citing Art Ensemble of Chicago, Pharoah Saunders, Coltrane (Alice and John), and Don Cherry as major influences.

Across trance-like meditations, rising grooves, moments of grief and collective uplift, It’s Always About Liberation speaks to the battle within the mind as much as the inequalities of the wider world. It acknowledges the darkness but lets connection and creativity have the last word Ancient Infinity Orchestra is a gathering of voices, traditions, and energies converging into something timeless. Their music is a journey inward and outward, always reaching toward the universal.

Australian black metal force, Faustian, have been referred to as a super group of the Antipodean extreme metal scene; the members of this formidable three-piece having set their demons loose with the likes of Werewolves, The Berzerker, The Amenta, The Antichrist Imperium, Psycroptic, Abramelin and more. However, when confronted with the atmospheric, majestic inferno that is the sound of Faustian, whatever else its creators may have achieved is inconsequential - nothing else matters beyond experiencing the firestorm they unleash in this particular incarnation to its fullest enticing, exhilarating, unnerving extent. With a new deal signed with Apocalyptic Witchcraft, the band are now prepared to unveil their latest collection of unholy hymns. Following in the scorched earth wake of 2023s We Come As Angels, Faustian present Parable Of The Sewer_ From the first, breathless assault of 'I Curse You', with its storm torn atmosphere, dramatic darkness and furious speed, to the warped denouement of 'The Rot Shall Inherit The Earth', a sickly melodious foretelling of putrefaction and degradation, Parable Of The Sewer careers through fear-filled twilight and tenebrous realms of profane secrets. A combination of powerfully evocative lyrics and soul scarring music creates an unequivocal, yet irresistible invitation to damnation. From the indefatigable velocity of the wicked 'Cephalophore' to the precision guitar patterns and chanted revelations of 'Immaculate', the cruel, haunting and surely damned 'We Do Not Use Names Here' to the cold menace of 'Tenements (Only The Wicked Walk In Circles), steeped in the sweat and stench of terror, every moment of Parable Of The Sewer is a masterful expression of black metal art. Sinister and insidious, overwhelming and darkly glorious, walking the edge of a sacrificial blade between repulsion and temptation, Parable Of The Sewer is music at its most potent and dangerous.

Gold & Black Yolk Vinyl. 11 bit studios and Black Screen Records are teaming up for the soundtrack release of the iconic game success Frostpunk 2 on vinyl. For the first time the award-winning score by Piotr Musial can be enjoyed in its entirety on LP and for the occasion a luxurious set was created with the music on gold and black "yolk" vinyl, packed in a gold embossed gatefold sleeve. Develop, expand, and advance your city in a society survival game set 30 years after an apocalyptic blizzard ravaged Earth. In Frostpunk 2, you face not only the perils of never-ending winter, but also the powerful factions that watch your every step inside the Council Hall. "Frostpunk 2 isn't all about the change. It's about respecting the legacy so you may expect the return of your favourite motifs." - Piotr Musia? The atmosphere of the Frostpunk series (11 million players worldwide) would not be the same without the epic music by Piotr Musia? in which desperation mixes with poignant melancholy. Without question the same composer had to return to create the OST for the sequel. The music of Frostpunk 2 still evokes the same feelings of hopelessness and despair, yet has much more space to it. As the city in the frozen wastes grows so does the music that surrounds it matures in an exceptional way. Dive once more into the post-apocalypse with this orchestral masterpiece and_keep warm.

"3..2..1..Go! The prompt begins and ends the latest Dorio production, starring Agent Friday & the Perfect Angel. Motion-blurred scenes coalesce in an imagined spy thriller soundtrack, cutting across club pop, neo-acoustic, and textured electronica. In eleven jet-setting tracks, the Texas duo reconfigures classic pop sensibilities and cocktail lounge idioms into a thoroughly modern work. The project’s newest LP marks a confident development in Chad Doriocourt and Rachel Rascoe’s co-songwriting and CD-age experimentation. Dorio’s mission starts now.

Fuzz guitars, monophonic synthesizers, and bouncy drum breaks fuel a tale of covert operations on Agent Friday & the Perfect Angel. The album’s propulsive production cuts across a pristine millennium palette, from Madonna’s 1998 Ray of Light all the way to Gorillaz’s 2010 Plastic Beach. Rising to meet the energy of live audiences, Doriocourt’s dance-oriented production amps up Rascoe’s singsong melodies. It’s music readymade for both recreational and listening formats.

“An upbeat form of bubblegum-pop and hip-hop percussion that recalls the recent neo-psych output of Stones Throw Records.” – Flood Magazine

“Recalling the nostalgic majesty of bands like Wishy, Tennis, and Hovvdy, the skittering hi-hat feels like rain drops hitting the metal roof of an old car, the production insular while somehow vivid and full of imagination… Whatever the instrument, Dorio know how to make quite an impression.” – Consequence

“Summery psych-pop that often infuses their dreamy melodies, kaleidoscopic hooks, and breezy vocals with nostalgic millennium-tinted breakbeats.” – KEXP"

From 1993, a hallmark UK Dub album returns to the light. Originally pressed in a small run and extremely hard to find, this record was produced at Earthquake Studio by TNT Roots and Winston Dread.

Together, they provided a raw contribution to the early UK Dub scene using a basic setup: a Siel DK-80 synth, a Yamaha home keyboard, a Casio RZ-1 drum machine, and an Atari 1040 computer running Cubase V2.0. The tracks were shaped through an old Dynamix 8-channel mixer and captured on a Casio portable DAT machine.

TNT Roots provided the drum, bass, and chord patterns, while Winston Dread added the lead lines and performed the mixing duties. This raw, undiluted music reflects the evolution of Dub and contains the seeds of all their future work. Their dubplates were staples for legendary UK sound systems like Aba Shanti-I and Iration Steppas, becoming sought-after anthems that defined the "heavyweight" digital roots sound.

These are heavy sounds that stand the test of time. Back on the streets after 30 years, the album has been fully restored and remastered to honor the dubplate masters of UK Sound System culture

Relapse presents a remastered reissue from the undisputed king of Japanese noise-MERZBOW. "Pulse Demon" is one of the most celebrated releases of Masami Akita's storied 4 decade long career. Composed entirely by live noise concrete and the use of a fuzz box, "Pulse Demon" eschews all overdubs and studio trickery, laying MERZBOW bare. What follows in these recordings is the pure essence of unfettered noise. The rawness in "Pulse Demon" is palpable; praised as "genuinely extreme, downright torturous sounds that are strangely compelling in their shredding intensity." (A.V. Club) upon its original release in 1996. Remastered by James Plotkin (ISIS, ELECTRIC WIZARD, FULL OF HELL, and more,) the "Pulse Demon" reissues features "Extract 1", a never-before released track that was recorded as part of the original "Pulse Demon" sessions.

Jon Schaffer's Sons of Liberty - Thought Crimes (Volumes 1 & 2) is a bold new mix that fuses the raw essence of the "Brush-fires of the Mind" LP (2009) and the "Spirit of the Times" EP (2011), breathing fresh life into a message that has proven eerily prophetic in an era of escalating world challenges. " Thought Crimes (Volumes 1 & 2) " is out now on all streaming platforms, inviting listeners everywhere, old or new, to discover its urgency. For collectors, a special physical rollout will arrive via The Circle Music on July 4, 2026 , marking the 250th anniversary of the signing of the Declaration of Independence. At its core, Sons of Liberty's music exposed the machinations of a fraudulent financial system and the insidious creep of authoritarianism, serving as a stark warning to humanity. Today, with those shadows cast longer than ever, this music stands as a timeless testament to truth, unfiltered and unapologetic.

What sets Sons of Liberty - Thought Crimes (Volumes 1 & 2) apart is its transcendence of partisan divides. This is not an echo chamber of political agendas; it's a universal wake- up call, championing freedom as the bedrock of peace and prosperity for every person on the planet. In a world fractured by division, Schaffer's lyrics rally for pro-freedom/pro-humanity ideals: anti-authoritarian, non-partisan, and rooted in the unyielding principles of liberty. It's a reminder that true empowerment comes from questioning and resisting systems that promote aggression and erode our shared dignity, fostering unity through principles of liberty, individual sovereignty, and collective resilience. Elevating the original material to new heights, this release features thunderous, newly recorded drums by longtime friend Mark Prator , whose precision and groove has powered classics from Iced Earth ( The Dark Saga , Something Wicked This Way Comes ), Demons & Wizards (Self- Titled Debut), and Jon Schaffer's Purgatory (EP 2018).

Paired with a cutting- edge modern mix by Jim Morris , the result is a sonic powerhouse that has matured like a fine wine - delivering an intensity and honesty that's all too rare in today's pop culture landscape. In an age where ideas can be silenced, this stands as the most censored and cancelled heavy metal music in history. It begs the question: Why? Are thought crimes an inevitable reality in a world that fears unbridled truth? Dive in, reflect, and educate yourself-- because freedom isn't a spectator sport; it is difficult, it requires action, and it's the only path to a better world for all of us

Jon Schaffer's Sons of Liberty - Thought Crimes (Volumes 1 & 2) is a bold new mix that fuses the raw essence of the "Brush-fires of the Mind" LP (2009) and the "Spirit of the Times" EP (2011), breathing fresh life into a message that has proven eerily prophetic in an era of escalating world challenges. " Thought Crimes (Volumes 1 & 2) " is out now on all streaming platforms, inviting listeners everywhere, old or new, to discover its urgency. For collectors, a special physical rollout will arrive via The Circle Music on July 4, 2026 , marking the 250th anniversary of the signing of the Declaration of Independence. At its core, Sons of Liberty's music exposed the machinations of a fraudulent financial system and the insidious creep of authoritarianism, serving as a stark warning to humanity. Today, with those shadows cast longer than ever, this music stands as a timeless testament to truth, unfiltered and unapologetic.

What sets Sons of Liberty - Thought Crimes (Volumes 1 & 2) apart is its transcendence of partisan divides. This is not an echo chamber of political agendas; it's a universal wake- up call, championing freedom as the bedrock of peace and prosperity for every person on the planet. In a world fractured by division, Schaffer's lyrics rally for pro-freedom/pro-humanity ideals: anti-authoritarian, non-partisan, and rooted in the unyielding principles of liberty. It's a reminder that true empowerment comes from questioning and resisting systems that promote aggression and erode our shared dignity, fostering unity through principles of liberty, individual sovereignty, and collective resilience. Elevating the original material to new heights, this release features thunderous, newly recorded drums by longtime friend Mark Prator , whose precision and groove has powered classics from Iced Earth ( The Dark Saga , Something Wicked This Way Comes ), Demons & Wizards (Self- Titled Debut), and Jon Schaffer's Purgatory (EP 2018).

Paired with a cutting- edge modern mix by Jim Morris , the result is a sonic powerhouse that has matured like a fine wine - delivering an intensity and honesty that's all too rare in today's pop culture landscape. In an age where ideas can be silenced, this stands as the most censored and cancelled heavy metal music in history. It begs the question: Why? Are thought crimes an inevitable reality in a world that fears unbridled truth? Dive in, reflect, and educate yourself-- because freedom isn't a spectator sport; it is difficult, it requires action, and it's the only path to a better world for all of us

Jon Schaffer's Sons of Liberty - Thought Crimes (Volumes 1 & 2) is a bold new mix that fuses the raw essence of the "Brush-fires of the Mind" LP (2009) and the "Spirit of the Times" EP (2011), breathing fresh life into a message that has proven eerily prophetic in an era of escalating world challenges. " Thought Crimes (Volumes 1 & 2) " is out now on all streaming platforms, inviting listeners everywhere, old or new, to discover its urgency. For collectors, a special physical rollout will arrive via The Circle Music on July 4, 2026 , marking the 250th anniversary of the signing of the Declaration of Independence. At its core, Sons of Liberty's music exposed the machinations of a fraudulent financial system and the insidious creep of authoritarianism, serving as a stark warning to humanity. Today, with those shadows cast longer than ever, this music stands as a timeless testament to truth, unfiltered and unapologetic.

What sets Sons of Liberty - Thought Crimes (Volumes 1 & 2) apart is its transcendence of partisan divides. This is not an echo chamber of political agendas; it's a universal wake- up call, championing freedom as the bedrock of peace and prosperity for every person on the planet. In a world fractured by division, Schaffer's lyrics rally for pro-freedom/pro-humanity ideals: anti-authoritarian, non-partisan, and rooted in the unyielding principles of liberty. It's a reminder that true empowerment comes from questioning and resisting systems that promote aggression and erode our shared dignity, fostering unity through principles of liberty, individual sovereignty, and collective resilience. Elevating the original material to new heights, this release features thunderous, newly recorded drums by longtime friend Mark Prator , whose precision and groove has powered classics from Iced Earth ( The Dark Saga , Something Wicked This Way Comes ), Demons & Wizards (Self- Titled Debut), and Jon Schaffer's Purgatory (EP 2018).

Paired with a cutting- edge modern mix by Jim Morris , the result is a sonic powerhouse that has matured like a fine wine - delivering an intensity and honesty that's all too rare in today's pop culture landscape. In an age where ideas can be silenced, this stands as the most censored and cancelled heavy metal music in history. It begs the question: Why? Are thought crimes an inevitable reality in a world that fears unbridled truth? Dive in, reflect, and educate yourself-- because freedom isn't a spectator sport; it is difficult, it requires action, and it's the only path to a better world for all of us

Jon Schaffer's Sons of Liberty - Thought Crimes (Volumes 1 & 2) is a bold new mix that fuses the raw essence of the "Brush-fires of the Mind" LP (2009) and the "Spirit of the Times" EP (2011), breathing fresh life into a message that has proven eerily prophetic in an era of escalating world challenges. " Thought Crimes (Volumes 1 & 2) " is out now on all streaming platforms, inviting listeners everywhere, old or new, to discover its urgency. For collectors, a special physical rollout will arrive via The Circle Music on July 4, 2026 , marking the 250th anniversary of the signing of the Declaration of Independence. At its core, Sons of Liberty's music exposed the machinations of a fraudulent financial system and the insidious creep of authoritarianism, serving as a stark warning to humanity. Today, with those shadows cast longer than ever, this music stands as a timeless testament to truth, unfiltered and unapologetic.

What sets Sons of Liberty - Thought Crimes (Volumes 1 & 2) apart is its transcendence of partisan divides. This is not an echo chamber of political agendas; it's a universal wake- up call, championing freedom as the bedrock of peace and prosperity for every person on the planet. In a world fractured by division, Schaffer's lyrics rally for pro-freedom/pro-humanity ideals: anti-authoritarian, non-partisan, and rooted in the unyielding principles of liberty. It's a reminder that true empowerment comes from questioning and resisting systems that promote aggression and erode our shared dignity, fostering unity through principles of liberty, individual sovereignty, and collective resilience. Elevating the original material to new heights, this release features thunderous, newly recorded drums by longtime friend Mark Prator , whose precision and groove has powered classics from Iced Earth ( The Dark Saga , Something Wicked This Way Comes ), Demons & Wizards (Self- Titled Debut), and Jon Schaffer's Purgatory (EP 2018).

Paired with a cutting- edge modern mix by Jim Morris , the result is a sonic powerhouse that has matured like a fine wine - delivering an intensity and honesty that's all too rare in today's pop culture landscape. In an age where ideas can be silenced, this stands as the most censored and cancelled heavy metal music in history. It begs the question: Why? Are thought crimes an inevitable reality in a world that fears unbridled truth? Dive in, reflect, and educate yourself-- because freedom isn't a spectator sport; it is difficult, it requires action, and it's the only path to a better world for all of us

Featuring Sarathy Korwar, Dudú Kouate, Marysia Osu and more

French-born, London-based composer and musician Pascal Bideau aka Akusmi announces his second full-length Terra Incognita, an album of intrepid sonic exploration that delights in the sensation of being somewhere you've never been before. The listener is invited to experience seven faraway sonic imaginariums, as global and spiritual jazz are fused with modern electronics and life affirming minimalism into a hypnotic, polyrhythmic odyssey.

The album's rich multilayered sound world features contributions from tabla virtuoso Sarathy Korwar, Senegalese musician Dudú Kouate adds an array of percussions, ngoni and flutes and Levitation Orchesta's Marysia Osu brings harp and flutes. Following Akusmi's widely acclaimed debut album Fleeting Future (2022) which was supported by The Guardian, The Quietus, MOJO , Gilles Peterson, Mary Anne Hobbs etc, this time, the sound palette for Terra Incognita is more vibrant, earthy and abundant, drawing inspiration from the radiating optimism and high-energy sources heard in Afrobeat, Highlife and Electronic Afro-pop music, sounding looser, free and primarily interested in raw sensations

HARTHBALL are an avant/noise/rock wrecking ball of a band from Nanaimo, Canada. Rooted in total improvisation, free expression, and a deeply psychedelic sensibility, EarthBall operate on pure instinct.
They hurtle onwards in a combustion of spontaneous composition, shooting from the hip, as they fall out of the sky ablaze. The group encompasses Isabel Ford (vocals, bass), John Brennan (drums, percussion), Jeremy Van Wyke (vocals, guitar, trumpet), Kellan Maclaughlin (guitar, talkbox), and Liam Murphy (saxophone). Each member brings a rich and varied musical history, with past and present projects including Shearing Pinx, Plan Your Future, Kamikaze Nurse, Eschatons, and Psychedelic Dirt. Collectively and individually, they have collaborated with artists such as Deerhoof, Raven Chacon, Chris Corsano, and William Hooker, deepening the band’s exploratory reach and collective language.
Since forming in 2021, EarthBall have released six cassettes and three fervently received LPs on Upset The Rhythm, including November’s widely acclaimed Outside Over There. Their latest release, Actual Earth Music - Volume 3 & 4, follows the first instalment in the series and captures two mind-quaking highlights from last winter’s European tour. This is EarthBall plunging to full fathom five, transforming into something rich and strange - channeling the fleeting moment as it fractures, erupts, and dissolves into the unknown.
Side A captures a thumping performance at Cave12 in Geneva. Frazzled from a white-knuckle alpine descent, the group settles into a hypnotic sprawl, stretching time and form across a colossal 53-minute set (with the first 22 minutes presented on the LP; the full performance appears on the CD edition). The Cave12 recording is a study in tension and release; ruminative, volatile, and barely contained. Drums stumble and surge, saxophone howls cut through the air, and Ford and Van Wyke’s voices briefly pull together the circle twice, before the tumult lapses into a spinning maelstrom.
Side B meanwhile presents a scorched excerpt from EarthBall’s crushing performance at Le Guess Who? Festival. As Van Wyke reflects: “Having the most excellent Dwarfs of East Agouza play before us only heightened our intention to bring the noise. Listening back, the thing that strikes me most is how we truly were operating in the ever-elusive but always sought-after ‘group mind’. Ninety-degree changes are super tight. Izzy and I are finishing each other’s sentences. Liam’s horn is cradling our outer and inner space. Kellan’s talk box rains down like the voice of a reawakened spirit, and all this havoc is safely stowed in the rumbling ox-cart of John’s solid drumming”.
Actual Earth Music - Volume 3 & 4 marks another ascent in EarthBall’s ever-expanding, totemic discography, an ecstatic storm of raw immediacy and unfiltered expression.

‘Falling Backwards’ is the debut album from Him & Earl via Wah Wah 45s, serving up a mystic brew of desert blues, English folk, Americana and stirring southern soul, with tentacles stretching out into psychedelia and prog, across 11 hot and hazy tracks.

Singer-songwriter Olly Him and DJ, producer and composer Wyndham Earl both have deeply-dug roots in the south coast of England, with the former making his name as a solo artist before exploring his soulful folk/prog sound with a number of live acts, and the latter collaborating on albums and sharing stages with Bonobo, Khruangbin, Alice Russell and TM Juke, having remixes released by Tru Thoughts and Mr Bongo Records and releasing his solo projects on his Time Spun imprint.

The pair first met in 2015 when Wyndham produced some songs for now defunct hypnotic Afro-folk outfit Creatures Of The Deep, of which Olly was a founder member. They instantly clicked, but after the group broke up it was a few years before serendipity brought them back together; a chance encounter at a gig saw them begin hatching plans to make a full album under the name Him & Earl with Olly writing the songs and Wyndham arranging and producing the project.

After so long floating in the creative ether, the connective power of these songs has been strikingly immediate. The debut Him & Earl live show in early 2026, before any tracks had even come out, blew Olly and Wyndham’s expectations out of the water as their five-piece band found themselves toe-to-toe with a sellout crowd – a sweaty room full of happy music fans, on an otherwise bleak January night, throwing shapes to live percussion showdowns, losing themselves in psychedelic guitar and bass wig-outs, and singing along to choruses they’d never heard a note of before.

Since then, the first two singles “Bottled Up” and “Away” have had high profile airplay from the likes of BBC 6 Music’s Huw Stephens and Cerys Matthews, and Radio X’s John Kennedy, adding to widespread tastemaker and specialist support around the world, as excitement builds for the album.The LP’s introspective and philosophical lyrics are brought to life by a sonorous yet strangely uplifting sound palette that morphs by stealth into a darkly propulsive, psychedelic and bluesy trip.

Opening song “Away” taps straight into a key theme of the record – journeying, in both a physical and mental sense, and the quest to move on and embrace the unknown – and its sunny guitars, trumpet and violin barely even hint at the tumultuous sonic adventure that’s set to unfold. A stronger indication comes in the title track,“Falling Backwards”, as its elegant web of staccato finger-picked hook, fluid piano melodies and strings unfurls into a six-minute exploration of what Olly describes as “going through every day normality while feeling close to chaos and like things could fall apart at any moment… when there is a myriad of different things holding everything together and if one thing goes wrong everything can fall apart around it.”



“Better Days” swiftly restores a sense of upbeat calm, with lively Kora and Afrobeat-inspired guitar licks, atmospheric trumpet and a harmony-clad mantra of hope on the horizon; the folky “Bottled Up” continues that blissful notion with undulating finger-picked guitar, earthy clarinet counter-melodies and celestial murmurations of delicately plucked strings. The magnetic pull toward more mysterious horizons comes via the dusty twang of Wild West-esque guitars on “Open Road”, a nomadic journey of self-discovery through spacious sonic plains embellished with eerie flickers of flute and clarinet. This leftward turn gathers pace in the trancelike

psych-prog depths of “Preside”, an instrumental cut at the album’s pivotal halfway point. Hypnotic, guttural desert blues-infused riffs on “Inside” channel the feeling of a psychedelic or spiritual trip where, in Olly’s words, “something clicks and you understand things on a different level – it makes you see inside yourself and see things in a different way.” “Shadow overhead” brings a lighter touch to a darker subject – the feeling of paranoia and being locked away from the world – drawn from Olly’s own experience and also his years of working in and around mental health.

Exuberant horns lend hope to loosely looping suspense on “Blindside” (about being caught out by the unexpected, and searching for something to see or hear to pick you up again) and then mesh with urgent strings, low-slung guitars and subterranean bass on “Around Again”, which explores the modern fight to stay afloat amid the endless churn of information and distractions. Still plumbing the bassy, bluesy depths of this journey into the psyche, “You Can Only Know” is a dreamlike revelation about finding someone or something that helps to make sense of the world. Luminescent synths duck and weave, while a rock-solid bass riff is tracked by a soul-soothing four-part “hey hey” harmony, reassuring as a glowing lamp in the window at the end of a life-changing trip.

Random ReVINYL Edition. Black Mountain, the front-line soldiers for the Black Mountain Army, an arts collective from Vancouver, British Columbia, write, perform and record music that speaks (and sings) to this realization: that solutions are rarely simple, that the world is as complex as it is ambiguous, and that music sprinkled with an inoculating dose of madness may well be the Pied Piper that takes us all back into the primordial mountain, where our hearts can be made steady and our minds can be set free. Their debut self-titled record, like a space probe built of erector set parts and transmitting secret and arcane messages to earth by string, charts territories unknown yet remains grounded by the roots of classic rock and roll. It is easy to discern these roots: Black Sabbath, Animals-era Pink Floyd, Blue Cheer, Led Zeppelin and Can. Principal songwriter Stephen McBean's vocals are a smoother, bluesier amalgam of the voices of Neil Young, Mick Jagger and perhaps a James Brown loaded on cough syrup. And when Amber Webber's voice joins Stephen's, the combination brings to mind the potency and chemistry of Richard and Linda Thompson singing together on Shoot Out The Lights, or of Meat Loaf and Ellen Foley howling together on Bat Out Of Hell. Musical comparisons aside, the Black Mountain full-length is one part protest song, one part pop-cultural commentary, and one part sick-groove-rock casserole peppered with mesmerizing ballads and intoxicating ditties. "Modern Music" is the lead-off hitter and counts its way to the imposing and riff-rife "Don't Run Our Hearts Around". Immediately thereafter, the sludge-rock masterpiece "Druganaut" establishes the fecund heart and tone of the record. Black Mountain have also just recently released a 12-inch single (on Jagjaguwar), including an extended mix of "Druganaut" on the A-side. And the band's currently sexploitative counterpart The Pink Mountaintops, a band that also pipes into the prolific well-spring of Stephen McBean's mind, released their self-titled debut record (on Jagjaguwar as well) this past summer. A video by Heather Trawick of the song "Druganaut" is included on the CD version of the Black Mountain self-titled record.

Earth Dog Records label heads djfix & Jek present the 12th release on their label, Unknown Species.

The A-side, “Unknown Species,” highlights the duo’s signature bass driven, swampy tech steeze. The original track snaking listeners deep into tech-house hypnosis, with neck-snapping, pitch bent basslines, spiraling vocal chops, and crunchy looping drums.

To beef things up, they’ve asked Koduku for his deep techno take on the title track. He takes the original to a hypnotic sweet spot with time-stretched rippling textures and subtle, hard hitting percussion.

On the flip side, “Datura” and “Earth Dub 2” go full on freak mode. Tunes perfect for the deepest, darkest part of the night, or as the sun starts to break through a smoke-filled dance floor.

Pre-orders available now through One Eyewitness, with digital available via Earth Dog Records Bandcamp.

Credits:
Written by Ethan Donovan & Jack Anderson in Bedstuy, Brooklyn
Mastered by Mike Grinser, Manmade Mastering

Nightcode EP finds UK deep-house craftsman Jacksonville in full control, lacing warm chords, swinging drums and basslines built for red-lit basements. Across “Nightcode”, “Ecstasy in Starlight”, “Octobers in Love” and “Blind Spot”, he fuses classic Detroit/UK house textures with his own emotional, story-telling touch—timeless deep house for DJs who play past sunrise.

Feedbacks:


Laurent Garnier : Octobers in Love <3 <3 <3
Nick Holder : dope
Gina Breeze (Classic / Get Up / Homoelectric) : Feeling the deepness! Look forward to playing.
Nightmares On Wax (Warp Records) : Ecstasy in starl;ight and Blind spot are my jams !
Josh Wink (Ovum) : Deep, old old school flavored with new school production.
Alexkid (Rawax / FUSE / NG Trax) : Lovely
Lauren Lo Sung (LOLiFE records, e1even records) : Octobers in love is nice!
Dj Hutch (Ambers / Rinse FM) : grooves
Louise Chen (NTS) : This is so so sooo good! Can't wait to play on the radio!
Rob Pearson (Evasive Records / Sine 102.6fm) : Nightcode is the standout for me, will play tonight on Evasive
Eviltron / Paul Donton (Bombis / Triangle) : Blind Spot and Ecstasy in Starlight are the ones on the
D'Julz (Bass Culture) : feeling night code and blind spot . merci!
Junior Sanchez (Strictly Rhythm / Cube Recordings) : Really Cool EP!
DJ Three : this is all very high quality house that feels very much a
nd_baumecker (Ostgut Ton) : Nightcode and Octobers In Love for me. Quality as usual.
Sasha (Last Night On Earth) : Downloading for Sasha
William Kiss (Rekids) : very nice!
Monty Luke (Rekids / Black Catalogue) : thx for this...
Mystic Bill (Classic / Trax / Relief) : Will try some of these out, thanks!
Carista : beautiful
Crackazat (Freerange / Local Talk) : Sick sick sick
Jhobei (Bizarre Trax / FUSE / Felon 5) : Nice smooth deep
Khadija (Rek'd / Rafiki Collective) : Danke
Ben Sims : Now downloading - will check asap!
DJ Bone (FURTHER) : Very nice tunes here, thanks
Bake (All Caps/Rinse FM) : thank you!
Dj Deep (Deeply Rooted) : very nice tracks!
Oliver $ (Classic Music Company / Play It Down) : nice one!
Tripmastaz (Plant 74) : Nightcode is tight
Harvey Sutherland (MCDE / PPU / Voltaire Records) : couple of nice tunes here!
Anthony Collins (Frank & Tony / Scissor & Thread) : super nice deep tunes
Marcel Dettmann : thx
Voigtmann (Subsequent) : Ecstacy in Starlight is the one!
Gerd (4Lux / Clone) : dope house trax from the phonogramme crew once again!
Groove Armada : Great EP - Love Nightcode, Ocotber is love so good too±
Harri (Sub Club) : nice, will play and support
Jorkes (Freeride Millenium) : ecstasy in starlight..yes yes yes yes
DJ Minx (Women On Wax Recordings) : Every one of these...top tier! I'm on 'em!
DJ Rocca (Nang Records, Mantra Vibes) : Great EP. Nightcode is great, super bassline indeed
Jacques Renault : Ectasy In Starlight for me here!
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Mark Farina : dig it
Âme (Innervisions) : thanks
Djebali ( ( djebali ) / INFUSE / Freak n Chic) : Love it ! thanks for sharing. Blind Spot is my fav
Jaye Ward (Dalston Super Store / Netil Radio) : wicked release!! night code is a belter!!! thx
Iron Curtis (Mule Musiq, Morris Audio) : thank you!

Namastrange and Pletnev debut on Earth Dog with the transatlantic tek of Desire Machine. Four supple rollers featuring a remix from label co-founder Jek.
Based separately in San Francisco and Barcelona, Namastrange and Pletnev collaborate sans studio to instead combine ideas virtually from afar. It’s a remarkable union in this respect; a fully-formed sound where heritage, influence and realities all collide to form an inimitable club-ready racket with Namastrange’s vocals sprinkled in to the mix. Sonically, this finds solace with Jek and djfix’s burgeoning tek stable of Earth Dog.
Desire Machine zones in from the parallel; its pulsating bassline grounding the evolving rhythm amidst Namastrange’s hypnotic mantra. Jek’s refix tramlines the shuffling groove to a psy-chotic break, with added dub delirium and prog attitude. Ego Collapse on the flip finds minimal solitude, gliding a dastard squelch with a sass’d up step. Splitting then gets it together for curtain call, a subversive pump with flirtatious persuasion that rides a phat tek bounce towards the finale.

In the world of Smote, going further out means going inward. Less a metaphysical journey into inner space, more a physical journey into the ground itself, converging with its roots and vibrations. What's more, a journey right to the heart of its principal architect's daily experience. Smote's fifth release for Rocket Recordings, and their deepest, most fully realised to date. Forged from repetition and mantric intensity and possessed of formidable psychic fortitude, this album prove that the only retro-chic Smote indulge in is liable to go back several centuries. The megalithic monomania of last year's A Grand Stream set a formidable precedent, and Smote's live shows in its wake have gradually built a reputation as visionary seers building audial monuments by cranked amplification and atmospheric intensity alike. Yet these five gnostic serenades offer portals and paradigms anew. Continuing Smote's exploratory mission into heaviness in all its forms. Songs From The Free House sees Foggin exploring a variety of new avenues. Therefore, whilst listeners might align the pantheistic forays into drone-based abandon with previous travellers like Earth and Om, the influence of folk songs and legends, as well as electronic music make their presence felt. "I've been listening to heavy electronic stuff like Puce Mary and The Body" adds Daniel, "Stereotypically guitars are often seen as the instrument for "heavy" music, but the sheer force that's available from electronics is something that will crumble most guitar centred music." Elsewhere a more melodic vocal based structure is writ large amidst these rites and revelations, particularly on The Linton Wyrm, which proceeds from devotional chant to a potent conclusion, also inspired by Foggin's everyday surroundings. Wrought from the earth, transposed to the ether, and now shared with the world at large, this album marks a transcendental journey where Smote render ancient and modern indivisible. Just as traditional music is passed down through generations, Songs from the Free House is where the primal collides with the eternal.

Reissued! Transcendence through repetition beamed via an aesthetic vision steeped in mystery: welcome to the world of Newcastle-Upon-Tyne's Smote, an entity opening up uncanny new psychic pathways. `Genog' - the outfit's second release on Rocket Recordings following 2021's eerie transmission `Drommon' - shows that Smote's elliptical casting of bleak magick is only growing more powerful as it gathers momentum. The brainchild of Daniel Foggin, Smote has evolved seemingly of its own volition. "I had the idea for years" he relates, "I love Pärson Sound, Träd, Gräs Och Stenar, Traditional Irish Folk and all sorts of different Drone and Folk music. It was simply finding the opportunity to sit down and get recording. A very heavy influence that affects Smote is fantasy as a genre, and the atmosphere that can be created via story-telling." The musical approach of Smote may have started out as a resolutely DIY one, yet from the humble origins of bedroom and rehearsal room recordings, the band has now become a full-fledged and powerful live band, whose appearances at festivals like Roadburn, Le Guess Who and Brave Exhibitions have already caused a considerable stir.The five vivid extrapolations on Genog conjure differing spiritual realms, yet combine and coalesce to offer one unified vision, building furious momentum in a manner that unites the pastoral with the arcane and otherworldy. Earthy, ritualistic and richly cinematic in aspect, Genog is an avatar guiding the listener to dark and beguiling imaginary landscapes. 2026 bone colour vinyl repress

Is planet Earth weighing you down? 12 Tribes are ready to take you away. Mars is the destination and their music is the spaceship. Drop your past to join them in a future where humans from all walks of life build new traditions, and music is the language we all speak.

12 Tribes of Mars takes the basic elements of the Reggae, Ska, and Dub traditions and blasts them into outer space. A closer listen reveals that what might seem familiar at first has a truly unique and eclectic sound. Heavily influenced by the spirit of free improvisation, the music is as sexy and danceable as it is uncompromisingly gritty.

On stage 12 Tribes Of Mars really cast their spell: time and time again trance inducing acoustic grooves are torn apart by wild improvisations and electronics, before the musicians return to the rhythm as if nothing had ever happened. Concerts are both an intense, trippy listening experience as well as a high energy dance party, ultimately leaving the audience sweaty and wanting for more.

All members of 12 Tribes are trained jazz musicians that are most comfortable in the borderland between musical genres. In the past years, the band toured the festival circuit and alternative venues of Amsterdam. Now they are celebrating the release of their first full album, Hidden Sun, on a beautiful 12 inch limited edition vinyl and on digital.

A groundbreaking collision of Atlantic psychedelia and cosmic dub!

A collaboration set to leave a lasting mark: Sensible Soccers join forces with dub master Mad Professor for an EP that redefines the boundaries of this year's electronic music.

Available in both physical and digital formats, this release captures a rare and powerful meeting of two distinct yet deeply connected sonic worlds. The result is a fully immersive experience—a new form of post-dub psychedelia, blending hypnotic grooves, expansive textures, and deep sound system vibrations.

The opening tracks, “Dub de Saia Travada” and “Berlaitada Dub”, are pure dancefloor catalysts: magnetic rhythms, heavy basslines, and a lysergic energy primed to ignite clubs and festivals throughout the summer. Music designed for movement, for the body and the mind—an invitation to lose yourself in collective, hallucinatory dance rituals.

Closing the EP is “Dub Discreto”, a cosmic and visionary journey that pushes the project even further. Here, dub meets the synthetic waves and abstract explorations of cosmic sound pioneers like Cluster and Klaus Schulze—reimagined through the warmth and depth of Jamaica. A timeless experience, suspended between deep space and earthly vibrations.

This EP is more than a collaboration—it’s a bridge between cultures, eras, and states of consciousness. An essential release for record stores, distributors, and listeners seeking something truly forward-thinking.

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

Douglas Robinson and Sal Mignano (both of The Sleeping) and Josh Eppard (co-founding member of Coheed And Cambria) share passions for authentic expression and genuine creativity. Held. isn’t so much a beginning as it is a culmination. The post-hardcore trio’s debut album, GREY, arrives fully realized, not as the tentative first step of newcomers, but as the collective fire of seasoned lifers discovering a new language together. It’s the sound of raw instinct coalescing with earned wisdom. GREY doesn’t announce itself so much as it emerges, inevitable and undeniable, like thunder rolling across a dark horizon.

It’s a force that feels eternal. Held.’s music feels elemental, evoking storms crashing against jagged cliffs or burning embers kindling, ready to reignite at any moment. It’s urgent and relentless, yet also spacious, textured, and deeply human. There’s gravity in every note, the kind that comes from survival turned into strength. Their sound is born of paradox: fiercely old-school in its emphasis on live performance and feel, but modern in its production and scope. Each song sounds both timeless and timely. Held. is less a band than a force: fierce yet vulnerable, raw yet refined. They play as if the walls themselves are trembling, channeling a purity that feels rare in an age of algorithmic noise. Listening isn’t consumption—it’s recognition, like rediscovering something thats always been within you. Held. carve out a place that feels both unshakably grounded and dangerously alive. Its more than music—its an invocation, a reminder of the raw pulse that connects struggle to transcendence. For those who find themselves in the storm, Held. offer not escape, but resonance: proof that inevitability can sound like liberation.

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

Repress

The Collaboration - Having toured together over the years, Lattimore and Barwick now join forces to co-write and record this full-length album. Their creative synergy brings together harp, voice, and analog synths in a deeply emotional, immersive sound journey. The album was recorded at the Philharmonie de Paris with co-producer Trevor Spencer (Fleet Foxes, Beach House). This album continues a unique series of collaborations between the label and the Musée de la Musique, featuring historical instruments in contemporary composition. Since 2017, InFiné and the Philharmonie de Paris have co-developed a series of albums designed to highlight the extraordinary instrument collection of the Musée de la Musique. Following the albums InBach by Arandel (2020) and Saturn 63 by Seb Martel (2022), this third release is a meeting of two iconic contemporary ambient voices: Mary Lattimore and Julianna Barwick. The project offers the artists full access to the museum’s playable instruments for recording, sound conservation, and creative reinterpretation.



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Tragic Magic brings together Julianna Barwick and Mary Lattimore, two of contemporary ambient, experimental and electronic music’s most celebrated composers, for a unique collaboration at the Philharmonie de Paris, with extraordinary access to the Musée de la Musique’s instrument collection, in partnership with the French label InFiné. The album features seven immersive, evocative compositions guided by the human spirit – intimate, grounded in friendship, both earthly and cosmic – and part of a greater continuum, reflecting the solace and transformative power of artistry across generations.

Co-produced by Trevor Spencer (Fleet Foxes, Beach House), Tragic Magic was created in just nine days, a testament to the “musical telepathy” that has developed between Barwick and Lattimore over years of touring and friendship. Arriving in Paris from Los Angeles shortly after the 2025 wildfires, their sessions combined improvisation with the emotions and experiences they carried, in a setting both inspiring and deeply supportive. Lattimore selected harps tracing the instrument’s evolution from 1728 to 1873, while Barwick chose several iconic analog synthesizers, including the Roland JUPITER and Sequential Circuits PROPHET-5. In freeform dialogue between voice and instrument, they create a meditation on tragedy, wonder, and the restorative power of shared experience.

The duo, often joined by Spencer, also explored the city, sharing meals and visiting museums and landmarks, each encounter leaving an impression on their next session. The experience allowed them to work intimately with rare instruments, blending their personal sensibilities with centuries of history, resulting in music that honors the past while remaining a deeply authentic expression of the present.
Throughout Tragic Magic, Barwick and Lattimore find something beyond themselves: a sense that while everything may not be okay, beauty persists. Their approach – transforming life into music, observing, feeling, and creating – continues a lineage of creative expression and visionary invention, embodied in the very instruments they employed for this project.

A. WandalHouz – Jazz Do it
Full 13 and a half minute ride, Wandalhouz wanted you to nab some quality use of your favorite material on this earth (vinyl) to its fullest potential. “Jazz Do It” sparks the same feeling and vibe as a sit in studio in session. Using a unique spacey Sci Fi sound creation as its main loop character, its main stand out is its big, bouncing fatty synth bass. Each introduced sound is eloquently placed upon its next, giving each individual sound its own time to welcome itself to the greater whole, and no moment is wasted. Each sound is playfully placed, perpetuating a bounce between the synths rubbing the low end frequencies, while the melodic pipe organ stabs shine bright through the ebbs and flows of sweeping fx to give it movement through the entire wave of sound. Its a driving deep, jazzy, and funky House track that truly encourages you to “Jazz Do It” on the dance floor, and as much as you can, for as long as you can.


B. Dj Mourad TD216 – Summer night talk
“Summer Night Talk” is Deep House cut that meets Electronic Jazz for a drink, at a Broken Beat art show, thats coming from the brain of a Techno OG, and Professor with years of producing, Djing, remixing, and sound design.

Mourad uses “Summer Night Talk” as his latest musical canvas. His machines are his paint brushes, and this song is his poem for its soundtrack. Mourad delivers thumping bass, peppy percussion, skippity snares, and fx that grab attention like poppin off fire crackers inside an art museum. Hypnotizing bass rumbles up your backside, creeps over your shoulders, and then whispers in your ear with a moist breath “Listen….” With each kick of the drum, each new brassy and chunky horn that graces your ear drum, you get further lost in the groove. His melody grab and spin you around, making you take another moment to catch your balance. “Summer Night Talk” is thumping and melodically techy in all the right ways to keep it deep, and true to its title.

Fresh from the success of his debut solo LP ‘How To Kill A Butterfly’ out last year on High Focus Records, Farma G returns with the anticipated full-length follow up ’Nearly Nothing’s Enough’.

An album anchored in his notorious musical adventures as 1/2 of Task Force, Bury Crew and Mud Family, but very much informed by the state of 2026 Britain and beyond, Farma’s new body of work is fuelled by equal parts venom and deep introspection across 12-tracks courtesy of Brighton based producer Relense.

With one eye on following ‘How To Kill A Butterfly’ with something of equal standing, Farma revisited the fundamentals in the hope of better understanding what he really wants to say with the music he makes. By channelling feelings of familiarity and seeking out emotional connections to his past he created a record that feels both concise and expansive.

With the help of Relense’s gritty analog instrumentals, Farma found himself journeying across subjects and bandwidths; from exploring the mind of a conspiracy theorist on ‘X-Files’, to being a zen master with a mountain on his back on ‘Sun Wukong’, before returning to earth for a typical day in the life on ‘Mr Moany’, ‘Nearly Nothing’s Enough’ is an album that took Farma home and he is delighted to welcome you on the journey.

Fresh from the success of his debut solo LP ‘How To Kill A Butterfly’ out last year on High Focus Records, Farma G returns with the anticipated full-length follow up ’Nearly Nothing’s Enough’.

An album anchored in his notorious musical adventures as 1/2 of Task Force, Bury Crew and Mud Family, but very much informed by the state of 2026 Britain and beyond, Farma’s new body of work is fuelled by equal parts venom and deep introspection across 12-tracks courtesy of Brighton based producer Relense.

With one eye on following ‘How To Kill A Butterfly’ with something of equal standing, Farma revisited the fundamentals in the hope of better understanding what he really wants to say with the music he makes. By channelling feelings of familiarity and seeking out emotional connections to his past he created a record that feels both concise and expansive.

With the help of Relense’s gritty analog instrumentals, Farma found himself journeying across subjects and bandwidths; from exploring the mind of a conspiracy theorist on ‘X-Files’, to being a zen master with a mountain on his back on ‘Sun Wukong’, before returning to earth for a typical day in the life on ‘Mr Moany’, ‘Nearly Nothing’s Enough’ is an album that took Farma home and he is delighted to welcome you on the journey.