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Back in 2022, Is It Balearic? Recordings founders Coyote (AKA long-serving producers Richard Hampson aka Ampo and Timm Sure) took time out from releasing music on their own labels to deliver a near perfect mini-album on Phil Cooper’s similarly mind-ed NuNorthern Soul imprint, Everything Moves, Nothing Rests.

A superb exploration of their trademark sound, where gentle downtempo rhythms and nods to dub came cloaked in colourful ambient chords, sun-bright melodic motifs, organic instrumenta-tion and quirky spoken word samples, Everything Moves, Nothing Rests deserved a sequel. So, three and a half years on, the duo has delivered just that: a fine six-track EP that offers an even deeper and more atmospheric exploration of their signature sound.

It is a sonic approach that should now be familiar to Balearic en-thusiasts the world over. Aside from delivering a steady stream of singles, albums and remixes on their own imprint, Hampson and Sure have also showcased their skills and loved-up musical mis-sives on International Feel, Music For Dreams, Needwant, MM Discos and Citizens of Vice.

The Higher The Sky, The Deeper The Ocean, their hotly anticipated NuNorthern Soul return, is named in honour of a quote from Ped-ro Alonso’s documentary series On the Ship of Enchantment, an extended voyage in which the Money Heist movie star meets healers and masters of ancestral medicine across his native Mexi-co.

There’s naturally a meditative and slightly psychedelic sound to much of The Higher The Sky, The Deeper The Ocean, which offers a subtly varied exploration of Coyote’s style and influence. Yearning, soft-focus opener ‘Muted Beauty’ – the kind of immersive, effects-laden and sample-sporting ambient bliss found nestling on Fila Brazillia albums of the mid 1990s – is followed by the similarly gentle ‘Go All The Way’, where delay-laden acoustic guitars, spo-ken word snippets and gaseous chords stretch out atop a languid, slow-motion groove.

‘A Drop in the Ocean’ picks up the pace a little via a glorious hat-tip to turn of the 90s ambient house – all dub-wise bass, heady deep house sonics, spaced-out chords and half-buried references to sunrise-ready Balearic synth-pop records of the late 1980s. Late psychedelic guru Terrence McKenna appears in sampled form on ‘Dolce Far Niente’, a tabla-driven drift and musical hallucination which conjures mental images of lying in the Mexican desert, gazing intently at a starry sky.

In contrast, ‘Riviera Sound’ is a chunkier, brighter and more sun-splashed affair – all deep, dubby bass, sustained piano parts, punchy downtempo breaks and the duo’s trademark ambient pads – while superb closing cut ‘No Coincidences’ fixes jazzy double bass samples, twinkling keyboard motifs, subtle acid lines and Latin-laced percussion to a street soul-adjacent beat.

Heady, impeccably crafted and thoroughly enveloping, The Higher The Sky, The Deeper The Ocean is Coyote at their dazzling best. It marks another significant chapter in their ever-evolving musical journey.

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.


Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.


Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

2026 Repress

Gaudi’s Jazz Gone Dub is a masterclass in genre fusion, seamlessly blending the improvisational essence of jazz with the heavy atmospheric grooves of dub. Known for his eclectic approach to music production, Gaudi pushes the boundaries yet again, creating a sonic landscape that feels both nostalgic and refreshingly innovative.

Four years in the making, from the opening track it’s clear that Jazz Gone Dub is more than just a mashup of styles—it's a thoughtful exploration of the intersections between two rich musical traditions.

Gaudi’s multi-instrumental talents are on full display, and the presence of reggae royalty is palpable, courtesy of rootsy melodies from David Hinds (Steel Pulse), Jah Wobble’s iconic bass grooves, Ernest Ranglin’s intricate guitar lines and Sly & Robbie’s rhythmic genius. Add Sardinia’s Train to Roots band, Manu Chao collaborator Roy Paci, veteran guitarist Marcus Upbeat, Mr Woodnote and Tim Hutton’s brass work, Gavin Tate-Lovery’s sultry sax and flute, Horseman’s percussive flair plus Colin Edwin and Vlastur’s serious basslines, and the
result is a rhythmic foundation that’s both solid and fluid, allowing the jazz elements to float freely above the dub undercurrents.

Despite this star-studded line-up, Gaudi remains the glue that holds this gem together: his production is meticulous yet organic, allowing each track to breathe and evolve naturally. The use of space, delays and reverb—a hallmark of dub music—is expertly handled, giving the album a dreamy, immersive quality. Tracks like Susceptible and Alabaster Moon showcase Gaudi’s ability to create mood and atmosphere without sacrificing melodic and rhythmic complexity.

In Jazz Gone Dub Gaudi has crafted an album that feels both timeless and forward-thinking, a celebration of musical synergy where the free-spirit of jazz meets the deep resonance of dub. Whether you’re a fan of either genre or simply appreciate masterful musicianship and innovative production, this album is a must-listen.

A new duo and record label based in Madrid lands on the underground techno scene, led by Mike Gómez and José Castillo, the latter known for his aliases Milford and UHF, and also the owner of the electro label Gladio Operations.

Diorama is born with the intention of recovering the soul and essence lost in electronic music, which for some time has become practically homogeneous and predictable. With a timeless, fresh, and warm sound, Diorama produce rhythms close to dub and Detroit techno, mainly influenced by Juan Atkins, UR, and Basic Channel, among others.

This EP, titled Pacific Trak, begins with a nod to the old Scottish school, where they revive a forgotten track by British producer Anthony Scott, adding its imposing main chord to a true sea of melodic textures, bathed in exquisite acid. Spanish techno master Tadeo gives us his vision of Pacific Trak, exploring dub territories that remind us of past pieces released under the incomparable Maurizio label.

The B-side opens with Soul Memories, a manifesto of resistance that vibrates with detuned harmonies and raw bass lines, recalling the origins of Detroit’s primitive sound. The package closes with Polymorphic, a progression of relentless aquatic chords, set among careful and precise minimalist rhythms that oscillate between high-dynamics tech and dub.

Tropidelicos is the electrifying new album from Houston/Denver powerhouse duo Gio Chamba, a kaleidoscopic fusion of cumbia, psych-funk, and global bass. Fueled by hypnotic percussion and cosmic guitar lines , the record embodies the next wave of Latin futurism — rooted in tradition yet exploding into vibrant, genre-defying sound.
Pressed on limited-edition 1×LP “Mango Viper Swirl” colored vinyl, Tropidelicos captures the radiant heat and joy of Gio Chamba’s live energy—music made for movement, community, and spiritual release. From sweaty dance floors to desert sunsets, every groove invites you deeper into the tropidelic revolution.

Red Axes step into the fabric presents series with a release that feels both inevitable and deeply personal. Known for their hypnotic, psychedelic approach to club music, the Tel Aviv–based duo bring a narrative-driven sensibility that aligns seamlessly with fabric’s legacy of long-form storytelling and forward-thinking curation.

Across years of performances at fabric and other key global institutions, Red Axes have developed a reputation for sets that unfold patiently and unpredictably, drawing dancers into a world where groove, tension, and atmosphere take precedence over genre or trend. Their contribution to the fabric presents series reflects this ethos: a carefully sculpted journey that prioritises mood, momentum, and emotional depth, while remaining firmly rooted in the physical language of the dancefloor.

Formed by Dori Sadovnik and Niv Arzi, Red Axes emerged from Tel Aviv’s underground with a sound shaped by post-punk, acid, krautrock, and cosmic disco influences. Over the past decade, they have built a catalogue defined by raw textures, twisted melodies, and a distinctly human looseness, qualities that translate as powerfully in the club as they do on record. Their releases and remixes for labels such as Phantasy, Correspondant, Running Back, Dark Entries, and Permanent Vacation have established them as artists who consistently operate just outside the expected.

As DJs, Red Axes are celebrated for their ability to stretch time on the dancefloor, weaving obscure selections, unreleased material, and leftfield classics into slow-burning, trance-inducing narratives. This approach has seen them invited to venues and festivals including Panorama Bar, De School, Bassiani, Dekmantel, Sonar, and Primavera Sound, where their sets are defined not by peaks alone, but by the tension built between them.

With the forthcoming fabric presents Red Axes release, the duo deliver a statement that captures years of shared musical intuition and a deep respect for the club as a communal, transformative space. It is a mix that rewards close listening as much as physical immersion, a snapshot of Red Axes at their most focused, expressive, and uncompromising.

To mark the launch of their forthcoming fabric presents album, the duo unveil the lead single, “Hot Rod To Hell”, a bold reworking of Man Parrish and Roy Garrett’s 14-minute spoken-word electro epic, reimagined through Red Axes’ signature psychedelic lens.

Stripped back and refocused, the original’s narrative tension is transformed into a hypnotic, downtempo house track built for late-night immersion. A rolling, elastic groove anchors the track, while pulsing low-end, subtly warped synth lines, and tightly controlled percussion create a sense of slow, smouldering momentum. The spoken vocal elements drift through the mix like fragments of memory, lending the track a ritualistic, cinematic quality without overwhelming the dancefloor.

2 x LP Red & Blue (Half & Half Effect) Vinyl in Gatefold Sleeve

The Bloods and Crips’ debut Bangin’ on Wax (1993) — which we reissued in 2023 to an incredible reception — inspired us to dig even deeper into this iconic catalogue. The follow-up, The Saga Continues, originally dropped only on CD in 1994. Now, for the first time ever, we’re proud to bring it to wax — pressed on solid Blue and Red vinyl, of course. This concept was a pivotal moment in West Coast gangsta rap, uniting members of L.A.’s two most infamous sets. Crips from Compton, Watts, and Long Beach, and Bloods from Inglewood and Los Angeles auditioned for the project, with the sharpest MCs selected for the final lineup. All proceeds from the original Bangin’ on Wax album went toward improving local schools and parks for the community’s children. Over 30 years later, the lone CD pressing regularly fetches £50+ on the secondary market — and now the album finally arrives on vinyl. Sleeker in production and delivery, this record carries that true G-Funk swagger, tipping its hat to Warren G, Snoop, DJ Quik, and even Dr. Dre.

long content, you may need to expand row to see all... Begin Here features fan favorites “She’s Not There, “Summertime,” and “The Way I Feel Inside,” plus three US bonus tracks including “Tell Her No.”

This definitive new edition combines all 17 tracks from the UK and US versions of The Zombies’ 1965 debut album, remastered in its original mono mix. Begin Here (Mono Remastered) is the next chapter in the series of Zombies reissues via the band’s own label Beechwood Park Records, with the same team as Odessey and Oracle - again being overseen by Matthew and Jamie White, mastering by Reuben Cohen at Lurssen Mastering, and brand-new liner notes by the legendary David Fricke. The album will be housed in a single pocket jacket with poly-lined sleeves and an insert.

For its eighth release, Distant Gaze welcomes Ruksby with Phosphene Cognition, the artist’s debut EP on the label. Known for his hypnotic acid energy and cold, driving groove, Ruksby has developed a distinct sonic signature resonating with both classic rave devotees and listeners of indie-leaning electronic music.

The EP opens with two original cuts. “Imagination” moves in a trancy and hypnotic direction, where slow pulsating TB-303 lines and drifting acid leads unfold through a dark, steady groove. “Illusion” follows with a sharper, more aggressive edge, pushing acid frequencies and overdriven synths into tighter late-night territory. Both tracks stand as focused dancefloor pieces driven by Ruksby’s balance of tension and intensity.

On the B-side, two remixes expand the release. Long-time label friend Mike Sacchetti delivers an acid-driven dancefloor weapon built around a relentless pulsating bassline. Closing the record, Rambal Cochet offers a Goa-inspired chill-out reinterpretation, providing a calm and spacious conclusion.

"Music, like love, surprises you, makes your heart race, gives you new eyes with which to look at yourself in the mirror..." (Gigi Masin)
With an exclusive presentation by GIGI MASIN, UP TO 23 release their second album, now with an expanded three-member lineup following the permanent addition of ENRICO CONIGLIO over the founder members MARCO BUFFETTI and FRANCESCO FINCATO. The album draws inspiration from the 1980s, evoking atmospheres reminiscent of sci-fi soundtracks. Partly romantic, partly doom ambient, the work unfolds as a requiem for our planet. Liquid and enveloping atmospheres drift between melodic ambient territories — explored through processed guitars and synthesizers — and soberly electronic paths traveled to the rhythm of sequencer-driven patterns and programmed structures.
Dramatic and evocative moments emerge throughout this succession of varied yet perfectly integrated and fluid soundscapes, where sounds and progressions combine with ever-shifting solutions, following a descriptive thread that remains consistent as it continuously unravels through encompassing and emotionally engaging textures. AN APPLE A DAY YOU DIE ANYWAY is the perfect soundtrack to these dark times that UP TO 23 want to color in order to continue to hope, to live without having to survive.

Silvana Rossi emerges from the new wave of Italo revivalists with a sound that feels both timeless and sharply contemporary, where vintage drum machines, analog synth lines and nocturnal romance collide with a modern club sensibility. Rooted in classic Italo disco but filtered through today’s underground circuitry, her music speaks directly to selectors navigating the space between wave, electro and slow-burning techno. The tracks carry a distinctly personal edge—melancholy, desire, and late-night introspection wrapped in icy melodies and hypnotic grooves. This is music made for dimly lit booths, smoke-filled basements, and DJs who still believe in storytelling through vinyl.

A seductive opener “Elixir Of Love” built on cascading arps and a steady pulse, romantic but restrained, like a whispered confession over a rolling bassline. Perfect for setting the tone early set. Tension-driven and emotionally charged, italo anthem “Breakdown” balances crisp electro rhythms with a sense of inner collapse. A cold wave-leaning cut that hits hardest when the lights stay low and the energy turns inward. Shades Of The Night – a cinematic slow-burner drenched in shadow and atmosphere. This one is all about texture and space. Walk In The Night, another italo classic on the EP, stripped-back and hypnotic, with a confident groove that nods to classic Italo while staying firmly rooted in modern club aesthetics. “Bad Girl” brings a sharper, more playful edge, driving, stylish, and slightly dangerous. A weapon with crossover appeal for electro and wave crowds alike. A versatile tool for both warm-ups and deeper moments. Emotionally direct yet sonically controlled lush pads and restrained vocals create a sense of distance that pulls you in “Don’t Leave Me”. A melancholic highlight for DJs who know how to play with tension.

Italy via Atlanta, say hello to Titino and “Sun Splicer”, the latest release on The Comfort. Three separate ideas connect this EP across 4 tracks. It toys with the expectations of its listener — core features morph as tracks progress, stable kick patterns turn to breaks and in reverse, simple stabs progress to melodic junctions. Acid permeates this record, not as a clear motif but a tinged essence. And it’s sincere, both to the setting of these pieces and where they’ll be listened to and what it honors.

“Shblasted” — a back-and-forth groove machine filled with dub sirens and stepped up acid. Clubby introduction meant for sacred dance floors.

“Ouachita” on the A2 is controlled chaos, snares fly around, synth lines seem to want to escape their own confines and it just bursts onto the listener. Then the keys come in, the groove stabilizes, pads become bigger and new life is given.

The B-side is playful. “Sun Splicer” is perhaps most aptly categorized by a now notorious idea of ‘electro house’, and the pure aggressive euphoria this track carries just might be that, but as we all know the Italians do it differently — it’s a heady dark excursion. “Existenz” is all-smiles no matter how menacing its first contact, a hook of a track that reimagines the weirder side of Italian trance — think Interactive Test at its most wonderful. The dusty snares feel like a balancing tool instead of an homage.

First-ever vinyl edition of 2007 album "The Earth Is Shaking" by The Hydromatics featuring Kent Steedman (The Celibate Rifles) on guitar! Bang! Records brings you "The Earth Is Shaking", the THIRD album by The Hydromatics - a transatlantic high-energy rock 'n' roll unit powered by Detroit legend Scott Morgan (The Rationals / Sonic's Rendezvous Band) and Amsterdam cult-hero Tony "Slug" Leeuwenburgh (Loveslug). Originally released in 2007, this record captures the band leaner, rougher and fully locked-in: big riffs, street-level groove, zero filler, and that unmistakable Detroit soul-grit that Morgan owns like nobody else. And here's the headline for rock'n'roll die-hards: Kent Steedman (The Celibate Rifles) is on guitar - bringing bite, melody and attitude, plus extra sonic spice (yes: theremin) and production muscle. The result is The Hydromatics at maximum voltage, moving confidently into their own songs while still carrying the Motor City flame. Highlights include the swaggering "Streets Of Amsterdam", the barroom punch of "Standin' At The Juke", and the epic ride of "Detroit Leaning". Enjoy for the first time on vinyl!

Orange is an unstill life, a bowlful of new White Fence concepts for guitar band, grown larger through thoughts, feelings/SONGS. Rock "n balladry play with genre in uncrowded space. Orange is KILLER POP thru clean lines of power, outlined with an emphatic/unalterable (minimalist) frame. Dark magik at its most bright! A trance-like chronology of consciousness/SONGS captained by producer Ty Segall in opalescent diamond tightness and ice fidelity.

From the maniacal opening notes and carnival barker howl that launch the album, The Ugly Organ wasted no time searing itself into a listener's ears and quickly established Cursive as a musical force with which to be reckoned. A self aware examination of artistic constraints (or lack thereof), relationships, sex, and the intersection of all three, The Ugly Organ wowed critics and audiences alike with its cerebral, cathartic blend of songs. Fiercely intelligent and cohesive - the liner notes laid the songs out like a play, complete with stage directions - across its diverse sonic landscape, the album landed Cursive on the Sunday Arts & Leisure section cover of The New York Times (which also called it "a marvelous collection of riddles and left turns, conceived as a single piece of musical theater") and earned accolades from Rolling Stone ("a brilliant leap forward"), Entertainment Weekly, Billboard, Alternative Press, MAGNET ("The best punk record you'll hear all year"), Esquire, and SPIN, among many others, as well as a place on numerous year-end best lists.The Ugly Organ feels as vibrant and vital today as it did upon release more than 20 years ago. A landmark album, it not only catapulted Cursive from the simmering indie underground to the forefront of a genre, but also served to inspire a host of young bands in its wake.

For their third release, FREE UNIVERSE welcomes Brooklyn's JÄK-87, making his debut EP with two acid-soaked jams along with remixes from Will Automagic and FU label head, Gee Dee. The Good Room staffer delivers Acid Bath, a subtle yet driving downtempo excursion complete with cheeky samples and a powerful 303. On the flip is Re_Cognition; a booming breakbeat stomper with distorted synths and bouncy bass. The Carry Nation's own Will Automagic ups the tempo with a speedy remix of Acid Bath, with a throbbing bass line and jacking percussion ready for 2am peak moments while Gee Dee brings a minimal approach to Re_Cognition with analog synths harking back to the likes of Liaisons Dangereuses. This record is dedicated to David G. Holland. Limited to 300 copies.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

DYING VICTIMS PRODUCTIONS is proud to present WHIRLWIND’s highly anticipated second album, 1640, on CD and vinyl LP formats. WHIRLWIND was originally conceived as a studio-project by Mark Wild, from Körgull The Exterminator among other extreme metal bands, to satisfy his will to make a classic heavy metal album, a style that changed his life during his childhood – influenced mostly by ‘80s German metal bands like early Running Wild, early Helloween, Accept, Heaven’s Gate, Gravestone, Tyrant, Grave Digger, Steeler, and Stormwitch among others, but also all kinds of classic heavy metal like Mercyful Fate, Manowar, Iron Maiden, and Judas Priest. In 2022, WHIRLWIND released their debut album, 1714, marking the band’s beginning. WHIRLWIND also established a live lineup to bring their songs to life onstage, with musicians from other known bands, like Redshark, joining as permanent members of the band. The album immediately generated a big buzz in the underground scene and led them to perform at some of the best-known festivals in Spain like Pounding Metal Fest and Skulls of Metal, alongside such bands as Visigoth, Attic, Omen, Tentation, Mindless Sinner, Witchtower, IRON CURTAIN, and Phantom Spell. Now arrives WHIRLWIND’s second album, 1640. Like its predecessor, the album is focused on historical and epic episodes of their homeland; specifically, this album revolves around the Thirty Years War that took place around Europe and the inner conflicts within Spain.

Musically, WHIRLWIND deliver a masterclass in cruising, classy Teutonic metal, running from more traditional-minded mid-tempo stompers to surging, up-tempo gallops of glory. Riff and lead form a lethal tandem, balancing both energy and color, while the rhythm section stays locked in no matter the dynamic. The production, too, of 1640 honors the mid ‘80s with authenticity – underground in spirit, Big League in execution. All told, the album is true heavy metal for true heavy metal people: no more, but definitely no less. By the blood in their veins, WHIRLWIND are marching to victory, ready to explode!

Loftsoul a.k.a. DJ Uchikawa revisits and remixes three tracks from the Loftsoul Recordings catalogue for 2026.

Dear Friend featuring Lisa Millett was the first release on the label in 2010 and instantly became a highly collectable classic. Uchikawa refreshes the track with his customary deep and soulful yet driving energy, maintaining all the musical elements that define his unique fusion of the organic with the electronic.
Wait For You featuring Carla Prather gets retouched with a deep rolling groove and riding hammond organ melody creating a smooth bed for Carla’s haunting vocal.
Uchikawa’s cover version of the Grover Washington classic Mr Magic first appeared under his Rhythm Of Elements guise in 2008. It features the great pianist Makoto Kuriya laying down a sublime solo over the infectious groove and Hideki Ikeuchi killing it on guitar. The 2026 Remix comes with a full-on laid-back jazz double-bass line as the background for the exquisite solo performances.

From the subterranean grooves of deep techno to the cosmic pulse of electro and IDM, Deep Space Protocol sees Japanese legend DJ Compufunk navigate a vast sonic universe with precision and feeling. A veteran of Osaka’s celebrated Compufunk Records scene — where he’s sold and spun cuts for nearly three decades — Compufunk seamlessly weaves together influences that span Detroit-infused machine rhythms, hypnotic electro textures, and the thoughtful intricacies of left-field IDM.
Pressed as a limited vinyl release, Deep Space Protocol feels like both a nod to classic techno lineage and a forward-thinking exploration of sound — perfect for listeners who cherish the raw pulse of the dancefloor as much as the cerebral depths of an immersive listening session. With roots that include releases on Detroit’s Motech and connections to Underground Resistance figures, this is an album that bridges cultures and decades while leaving plenty of room for the future.

No matter where you are in the world, distance fades when like-minded people connect.
Clima Futuros understands climate as a condition rather than a setting. An environment where trajectories take shape, move forward and, sometimes by chance, intersect. Each track follows its own path until those paths briefly align — not as a destination, but as a shared moment in time.
At the center of the record, DJ F outlines a common atmosphere shaped by movement, reinterpretation and intent. The EP unfolds through original cuts and reworked versions, where ideas circulate, transform and return with renewed meaning.
One of the tracks features saxophone lines by Nala Rami, adding a melodic presence that sits naturally within the climate, while remixes by Less J and Jarren expand the EP from different angles.
Rather than a fixed narrative, Clima Futuros presents a shared space — shaped by aligned paths, recycled forms and the quiet convergence of futures moving in the same direction.

The Cure are to release the 1986 mix of Boys Don’t Cry, making it available digitally for the first time ever in line with its 40th Anniversary. Initially released as a standalone single in the summer of 1979, Boys Don’t Cry became the title track of the US edition of the band’s debut album, Three Imaginary Boys.



The song went on to become one of the band’s signature tracks and achieved international success in 1986, when Robert Smith re-recorded the vocal and remixed the backing track. Although this new version was created to promote the best of collection Staring At The Sea – The Singles, the LP itself featured the original recording, and the 7-inch version of Boys Don’t Cry (New Voice – New Mix), now retitled Boys Don’t Cry (86 Mix), is being released on vinyl for the first time in 40 years.



Boys Don’t Cry (86 Mix), the 12” mix, and the B-Sides, Plastic Passion, Pillbox Tales, and Do The Hansa have been remastered by Matt Colton.

Diese erweiterte Ausgabe von „From A Page“ enthält die beiden CDs in einer Klappbox mit einem 16-
seitigen Booklet mit Liner Notes von Oliver Wakeman, einem Faltposter und fünf Kunstkarten.
und die erweiterte Ausgabe der 2LP von „From A Page“ wurde auf Halfspeedmastered 180-GrammSchwarzvinyl gepresst.
„From A Page“ ist ein Album mit Aufnahmen der Yes-Besetzung von „In The Present“ mit Chris Squire
(Bass), Steve Howe (Gitarren), Alan White (Schlagzeug & Percussion), Benoit David (Gesang) und Oliver
Wakeman (Keyboards). Die Songs wurden während der Sessions aufgenommen, aus denen schließlich das
Album „Fly From Here“ von 2011 hervorging, auf dem Geoff Downes nach Wakemans Ausstieg aus der
Band am Keyboard zu hören ist. Die 4-Song-Mini-LP „From A Page“ wurde 2019 veröffentlicht und enthält
Songs, die nicht auf „Fly From Here“ verwendet wurden.
Die 2-CD-Version von „From A Page“ enthält die ursprünglichen vier Songs sowie alternative Versionen von drei Songs aus „Fly From Here“ mit Oliver Wakemans Keyboard-Parts aus den ursprünglichen
Songwriting-Sessions und eine Studioversion des von Chris Squire geschriebenen Songs „Aliens“, der auf
der Tour 2008 gespielt wurde, auf Disc 1. Disc 2 enthält Demoversionen vieler Songs, darunter „Updraft“,
das die Grundlage für den Abschnitt „Army of Angels“ von „Into The Storm“ bildete, „Don’t Take No For
An Answer“, das nicht auf dem Originalalbum enthalten war, aber während der Sessions bearbeitet wurde,
und den Single-Mix von „To The Moment“, der zuvor nur auf Vinyl erhältlich war.

Los Angeles alt-punks Death Lens return with What"s Left Now?, an album that feels like a jolt of clarity after a year that never seemed to slow down. Fresh off touring with Militarie Gun, they dove into the studio with producer mixer Zach Tuch (Knocked Loose, Touché Amoré) to craft their first new music since 2024"s Cold World. The result is a set of songs that coil hooky guitar lines around lyrics about taking stock of what you have, what"s been taken from you, and confronting what remains without any sugar coating. Death Lens have always played with contrast: ferocity disguised by swagger, volatility wrapped in melody. Onstage, they transform that tension into something communal-cathartic enough to leave rooms wrecked, connective enough to leave people changed. Once a crew of partydriven garage punks, they"ve sharpened their voice into something broader and more urgent, speaking on life in heavily policed neighborhoods, immigration reform, and the responsibility to lift up the communities that raised them. What"s Left Now? pushes that vision forward, framing resilience not as a slogan but as a lived philosophy: one world, one community, one band refusing to stand still. Death Lens is comprised of Bryan Torres (vocals), Jhon Reyes (guitar, backing vocals), Tony Rangel (drums), and Ernie Gutierrez (guitar).

- 2026 repress / hot foil printed sleeve -

Limited Edition: Box with holographic hot foil logo print and five printed inner sleeves - No Repress

SHDW's label, Mutual Rytm hits a notable milestone at the start of 2024 as it turns two years old and hits its 20th release. To mark the occasion, the carefully curated compilation 'Federation Of Rytm III' arrives on February 2nd with a 30-track 5 x 12" boxset vinyl release and a further 6 digital bonus tracks.

Mutual Rytm is synonymous with serious, no-frills techno. It is a go-to for the world's most influential DJs and a home to some of the scene's most innovative producers. Over the last two years, it has explored several shades of sound, always with high-quality production and forward-thinking styles. A fine balance has always been struck between new and emerging talents and established names with plenty more to say, and that is the case on this collection which features the legendary likes of Blawan, Gary Beck, Colin Benders, The Advent and Dax J next to ANNE, Alarico, JakoJako, Chlar, LDS and many more.

Founder SHDW says, "I've poured my heart into curating a compilation of 36 tracks, a reflection of my deepest musical passions. The lineup is stacked with incredible artists, and it captures the label's essence - a fusion of artists spanning generations, united by a shared spirit and aesthetic, creating a seamless 'mutual rhythm'."

Although all 36 tracks stand alone as high-grade and club-ready dynamite, they also collectively form a versatile listening experience thanks to how they've been carefully assembled into a perfectly sequenced journey.

Each one dives into a different nuance within the world of techno and there is a range of moods from dark and driving to more energising and uplifting. The collection not only shows how far Mutual Rytm has come in a short space of time but also that it remains in a constant state of evolution and has a bright future ahead in 2024 and beyond.

SHDW's vision at Mutual Rytm was always to present a cohesive yet varied musical experience, and Federation Of Rytm III does exactly that.

Recorded in London during 1995–1996 and produced by Chris Sheldon, the album marked a significant step forward for the York-based group following their 1994 debut Change Giver. Written by band members Rick Witter, Paul Banks, Tom Gladwin and Alan Leach, the record captures the energetic guitar-driven sound that helped define the Britpop era.

A Maximum High reached number 8 on the UK Albums Chart and produced five UK Top 40 singles: "Where Have You Been Tonight?", "Getting Better", "Going for Gold", "On Standby" and "Bully Boy". Among these, "Going for Gold" became the band's biggest hit, peaking at number 8 on the UK Singles Chart.

Global icon and five-time GRAMMY® winner Angelique Kidjo returns with HOPE!!, a revelatory 16-track collection that serves as a vibrant antidote to the times. Following her 2021 success Mother Nature, this album bridges continents and genres, featuring a star-studded lineup including Pharrell Williams, Quavo, Ayra Starr, Nile Rodgers, and Davido among other A-listers

Produced by Pharrell and Shizzi, and featuring songwriting by the legendary Diane Warren, HOPE!! is more than an album—it’s a global musical movement dedicated to the resilience of the human spirit.

This first-time reissue of Quinteplus’ 1971 album revives a key moment in Argentine jazz, featuring crisp trumpet and tenor sax, electric piano-driven funk and modal grooves, and a tight, spacious rhythm section. It showcases prominent figures like Jorge Anders and “Pocho” Lapouble.

==================================

Quinteplus was born in Buenos Aires at the end of the 1960s, emerging directly from the ideas and experiments of the legendary Agrupación Nuevo Jazz. Founded in the early ’60s, this collective brought together some of the most forward thinking figures in Argentine jazz functioned as a creative lab where musicians questioned where jazz could go next. Among the key ideas discussed was the fusion of jazz with Argentine folk styles such as zamba, chacarera, malambo, cueca, and candombe, as well as a deeper look into African rhythms as a bridge between musical worlds.

Two members of that collective, keyboardist Santiago Giacobbe and bassist Jorge “Negro” González, carried those ideas forward when they formed Quinteplus in 1969. The group came together naturally: all the musicians already knew each other and had played in different projects around the Buenos Aires scene. They shared a strong admiration for Julian “Cannonball” Adderley’s quintet, along with a clear goal—to develop a modern jazz language grounded in local Argentine rhythms.

From the start, Quinteplus stood out for its openness and adventurous spirit. Rhythm was central, and so was experimentation. The band belonged to a generation of Argentine jazz musicians eager to explore electric instruments and new textures, anticipating what would soon be known as jazz-rock. This was happening in Buenos Aires at the very same time Miles Davis was opening new doors with “In a Silent Way” and “Bitches Brew”. Giacobbe introduced one of the first Fender electric pianos in Argentina, while González pioneered the amplification of the upright bass and even developed a hybrid electric, boxless version of the instrument. Trumpeter Gustavo Bergalli, meanwhile, maintained close ties with the emerging Argentine rock scene, collaborating with Luis Alberto Spinetta and appearing on Almendra’s first album.

In 1971, Quinteplus recorded its first and only studio album for EMI. The original lineup featured Jorge Anders on tenor saxophone, Bergalli on trumpet, Giacobbe on keyboards, González on upright and electric bass, and Norberto “Pocho” Lapouble on drums and percussion—who also illustrated the album’s iconic sleeve. The record is a refined showcase of the band’s musical vision: original compositions, fluent jazz language, folk-derived rhythms, funky electric textures, tight ensemble playing, and standout brass solos. Though critically praised, the album received little label support and sold modestly, eventually becoming a sought-after collector’s item.

Quinteplus disbanded in 1973, their music was perhaps too bold and unconventional for its time.

Xerrox Vol. 3 is the eighth solo studio album by German electronic artist Alva Noto, released in 2015 as part of the ongoing Xerrox penthalogy, which began with Xerrox Vol. 1 (2007) and Xerrox Vol. 2 (2009).
Inspired by formative influences such as Andrei Tarkovsky's 1971 film Solaris, La Isla Misteriosa y el Capitán Nemo by Juan Antonio Bardem, and Henri Colpi, Carsten Nicolai exchanges austerity for cinematographic lushness in the remarkably widescreen third volume of his Xerrox series.

In line with the series' focus on "using the process of copying as a basis," the eleven compositions of this volume can be heard as copies of memories, exploring emotional data patterns that are reflected as melodic vectors and noise.

This remastered version will be reissued on NOTON in 2026


Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1

Artist: Alva Noto
Title: Xerrox Atmosphere
Playtime: 00:01:22
Explicit Lyrics: No
ISRC: DE1N62500026
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2

Artist: Alva Noto
Title: Xerrox Helm Transphaser
Playtime: 00:06:45
Explicit Lyrics: No
ISRC: DE1N62500027
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 3

Artist: Alva Noto
Title: Xerrox 2ndevol
Playtime: 00:03:44
Explicit Lyrics: No
ISRC: DE1N62500028
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 4

Artist: Alva Noto
Title: Xerrox Radieuse
Playtime: 00:06:00
Explicit Lyrics: No
ISRC: DE1N62500029
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 5

Artist: Alva Noto
Title: Xerrox 2ndevol2nd
Playtime: 00:05:04
Explicit Lyrics: No
ISRC: DE1N62500030
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 6

Artist: Alva Noto
Title: Xerrox Isola
Playtime: 00:08:07
Explicit Lyrics: No
ISRC: DE1N62500031
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 7

Artist: Alva Noto
Title: Verrox Solphaer
Playtime: 00:06:08
Explicit Lyrics: No
ISRC: DE1N62500032
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 8

Artist: Alva Noto
Title: Xerrox Mesosphere
Playtime: 00:05:55
Explicit Lyrics: No
ISRC: DE1N62500033
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 9

Artist: Alva Noto
Title: Xerrox Spark
Playtime: 00:06:10
Explicit Lyrics: No
ISRC: DE1N62500034
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 10

Artist: Alva Noto
Title: Xerrox Spiegel
Playtime: 00:03:32
Explicit Lyrics: No
ISRC: DE1N62500035
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 11

Artist: Alva Noto
Title: Xerrox Exosphere
Playtime: 00:03:47
Explicit Lyrics: No
ISRC: DE1N62500036
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai

Returning with his first artist album in 13 years, revered techno innovator Mike Parker continues to shape out his explorations around 170 with his latest work for Samurai Music, Echo Disintegrator. Transcending genre lines with his unmistakable sonic stamp, the seasoned US producer crafts an extended trip through his exacting, lithe frequencies and brutalist rhythms. As evidenced on recent EPs Envenomations and Sabre-Tooth, Parker can comfortably slip into a hard-stepping D&B structure and make it his own. 'Earth Energy Imbalance' leaps forth with precision and purpose, wrapping atonal synth shapes around the stark beat in staggering high definition. 'Positronic Tentacles' finds a similar rolling momentum, even threading ruthlessly trimmed vocal snatches into the lyrical pulse of the lead tones. 'Radiative Force' teases its own mutant funk out of the envelopes shaping the molten sonics coursing through the middle of the frequency range. Elsewhere, Parker explores a variety of accented grooves around typical D&B tempos, remaining reliably broken while dipping into half-time space on 'Lunar Nocturne' and finding a low-slung swagger in the carefully deployed pressure of 'Ghost Rain' and 'Echo Disintegrator'. 'Beat Activator' pivots on a dense bed of bass with a crooked, off-beat slant before 'Dragon Bravo' casts a similarly dembow-informed beat into a dense tapestry of cyclical machine shrieks and snarls. There is a ruthless consistency to Parker's approach across Echo Disintegrator, riding the loops without flinching and forcing the focus deep into the minutae of every sonic element. Both brilliantly functional and profoundly subtle, there's a visceral, physical quality to the sound design that makes it a listening experience like no other.

HAVEN co-founder Keepsakes is finally back on his own imprint with 5 fresh originals filled to the brim with warped alien sound design, driving and grooving drum rhythms, and acerbic track titles fresh out of a twisted after-hours chat. Following on from releases in recent years on KAOS/OAKS, Turbo Recordings, Perc Trax, and Boys Noize Records, this latest EP maintains his signature toughness alongside his fun and quirky sound choices while taking his sound further in to jacking and groovy territory.

The EP launches with 'Vocoding Your Nan Out Of Existence' on the A1 - full of growling and tortured alien vocoder melodic experimentation combined with driving funky drum work and organic atmospherics, this slab of freaky techno weight is aimed directly at the most debauched of dance-floors. 'Get To Know It In The Flesh' follows up on the A2 with rolling, grooving rhythms and dramatic string stabs alongside outlandish synth melodies, looping vocals and eerie creatures lurking in the background.

On the flip 'Ready2BeginWot?' gets things jacking with swinging rhythmic funk and and ear-worm repeating vocal line in a fast house-inspired slammer. 'Hollow And Suited' follows on the B2 with its tribal driving drum work and mutating resonated vocals sitting alongside debased synth melodics for the most haunted club creatures. Finally, 'Corvid House' closes out the record with its swung and grooving drum loops, bird call sound effects, vocal hooks and euphoric pad bliss to finish off another plate of dance-floor degeneracy.

-2026 repress

Returning with his first artist album in 13 years, revered techno innovator Mike Parker continues to shape out his explorations around 170 with his latest work for Samurai Music, Echo Disintegrator. Transcending genre lines with his unmistakable sonic stamp, the seasoned US producer crafts an extended trip through his exacting, lithe frequencies and brutalist rhythms. As evidenced on recent EPs Envenomations and Sabre-Tooth, Parker can comfortably slip into a hard-stepping D&B structure and make it his own. 'Earth Energy Imbalance' leaps forth with precision and purpose, wrapping atonal synth shapes around the stark beat in staggering high definition. 'Positronic Tentacles' finds a similar rolling momentum, even threading ruthlessly trimmed vocal snatches into the lyrical pulse of the lead tones. 'Radiative Force' teases its own mutant funk out of the envelopes shaping the molten sonics coursing through the middle of the frequency range. Elsewhere, Parker explores a variety of accented grooves around typical D&B tempos, remaining reliably broken while dipping into half-time space on 'Lunar Nocturne' and finding a low-slung swagger in the carefully deployed pressure of 'Ghost Rain' and 'Echo Disintegrator'. 'Beat Activator' pivots on a dense bed of bass with a crooked, off-beat slant before 'Dragon Bravo' casts a similarly dembow-informed beat into a dense tapestry of cyclical machine shrieks and snarls. There is a ruthless consistency to Parker's approach across Echo Disintegrator, riding the loops without flinching and forcing the focus deep into the minutae of every sonic element. Both brilliantly functional and profoundly subtle, there's a visceral, physical quality to the sound design that makes it a listening experience like no other.

Cathartic avant-rock, literate DIY folk & experimental composition exploring displacement, love, climate change, belonging & the places we call home - RIYL Jim O’Rourke, Richard Youngs, This Heat, Richard Dawson, Flying Nun. ‘Real Home’ is the new album by the Manchester-born, London-based artist Kiran Leonard. His sixth album proper (not including innumerable tour-only CD-Rs and short-run cassettes), since his precocious debut in 2013, ‘Real Home’ finds Leonard invigorated by inspiration and experience, making passionate, literate, and mercurial music that explores displacement, love, memory, climate change, connections to home and more. Encompassing songs recorded after moving to South London, ‘Real Home’ reflects on ideas of belonging and domesticity through folkloric, stream-of-consciousness songwriting. Across nine tracks, Leonard traces lived impressions of the household and the city, expressing sentiments of dislocation, alienation and stasis, but contentment too. Infusing the avant-rock effervescence, terraced dynamics and visionary lyricism of his music with what he defines as a greater sense of openness, Leonard is as versatile, fervent and imaginative as ever on ‘Real Home’, yet his music is somehow more intimate, affecting, and acutely expressive. Shaped by dual considerations of simplicity and formalism, ‘Real Home’ is by turns beautiful, allusive, and ruminative, an album on which Leonard considers what his songs have resembled in the past and what they mean now. In recent years, Leonard has crafted eloquent chamber music inspired by the likes of James Joyce and Clarice Lispector (‘Derevaun Seraun’), responded to contemporary politics and communication breakdown in the digital age (‘Western Culture’), and compiled solo works and ensemble recordings for a longform ode to Jonas Mekas and to one of Leonard’s enduring themes; home (‘Trespass On Foot’). On ‘Real Home’, Leonard reiterates this abiding thematic focus yet ascends to new, different heights, in music of cathartic delicacy and dissonance where all the myriad dimensions of his work to date seem to crystallize. There are sinuous songs about struggle and defying the pace of city life through drift and diversion (‘Pass Between Houses’), stirring songs of intense feeling and crescendo, described as a form of speculative detective fiction (‘Theatre for Change’). There are touching solo piano ballads (the title track), symbolic contentions with carbon capture and climate change (‘Utopia of Bog’), modes of experimental minimalism (‘Void Attentive’), and other profuse feats of compositional range, embroidered with wild tendrils of narrative and lyrical depth. A record to pore over, and get lost in. Exemplifying the vast aesthetic scope of Leonard’s music, lead single ‘My Love, Let’s Take The Stage Tonight’ is inspired by country lodestar Hank Williams, Russian poetry and a late period love poem by William Carlos Williams. Yet for Leonard, the song signals a sense of accessible materiality, and is the product of a more linear approach to writing songs: “My imitation of the great Hank Williams, in spirit if not in substance…This is one of the best efforts on Real Home at a song-as-object. Looking at it now I realise I was trying to write a song that made itself known as a song to the listener, and I wonder whether that’s crucial if you want a song to transcend its context. And that this is either accomplished through a total openness – by being inviting, by laying the tricks of the song out plain to see, as Williams and his many ghostwriters did so well – or by adopting a knowing aloofness, positioning oneself against the listener but letting it be known that that’s what it’s doing. In this song I try both, but mostly the former: as in, I wanted to write a song where every line follows on from the next.” Imbuing the endlessly elaborate and inventive qualities of his music with a newfound streak of candid, clear-cut melodicism, Leonard has reached a special place in his artistry, on a record that feels familial, and expresses closeness. Assembled with affiliates including Lauren Auder, Otto Willberg, Jasper Llewellyn (caroline), Tom Hardwick-Allan (Shovel Dance Collective), Magda McLean (caroline, The Umlauts), Alex Mckenzie (caroline, Shovel Dance Collective), Isabelle Thorn (Dear Laika) & more, the recording process had a significant influence on the subject matter of ‘Real Home’, in sessions defined by close-knit camaraderie and artistic eccentricity: “The theme of the home obviously recurs throughout the record; the album was mostly recorded in domestic spaces with friends, and the name of the album is Real Home. I like the qualifier ‘real’, like you’re getting past the cloak of the word and towards the thing-itself…also nearly all the percussion in this record was recorded on items from my dad’s shed (jam jars, sandpaper, blocks of wood, etc). Real home record!” ‘Real Home’, like anything by Kiran Leonard, is a record of dazzling multiplicity. Yet it’s a companionable prospect with a central premise; a collection of songs where listeners old and new can find a home. An album led by a scene; of Leonard standing at the threshold, ready to welcome you inside. “Exceptional songs that linger” - The Guardian // “An autodidact of amazing talent & energy” – Pitchfork // “A ridiculous amount of talent…confrontational, celebratory, provocative or perverse – he manages all of these emotions & more” - The Quietus /

Mildred have announced their debut album Fenceline (out 24 April via Memorials of Distinction / Dog Day Records), they have also shared the Nick Roberts directed video for lead single ‘Fish Sticks’. Speaking of ‘Fish Sticks’ and the album, Mildred say: “Fish Sticks is a song of scenes from two worlds. Conversations with your boss. Acute workplace mediocrity. Riding home and eating fish sticks with your friends. For UK audiences, a fish stick is a fish finger, ideally Alaskan-caught cod. The song comes packaged in Fenceline, an album about conversations with old friends, little cousins, ceaseless piles of dust in your crumbling duplex, loves and theologians and their books. Fencelines mark two places but belong to neither. Neither nor, either or.”
Ahead of Fenceline, at the end of last year Mildred released their debut twin EPs mild and red, an insatiable collection of songs birthed before Mildred even knew they were a band. Arriving purposefully on the scene in that gentle, approachable Mildred way, the EPs picked up support from The Guardian, The Line of Best Fit, Uncut (‘We’re New Here’), The New Cue, Clash, DIY and more. Mildred is a band from Oakland, CA of four equal parts. They don’t have a lead singer, no one person writes the songs. The songs that make up Fenceline come together as a group with their genesis sprouting from any one of their members - Henry Easton Koehler (vocals, guitar), Jack Schrott (vocals, guitar), Matt Palmquist (vocals, bass, woodwinds) or Will Fortna (drums, production) - each time.

The songs are often wrestled from the lead writer by the other three, a lyric might have been mumbled absentmindedly for a few days before one of the other three grabs at it. Summed up neatly by Clash “imagine if Pavement went Americana and you’d be close”, Mildred make music that is pure and poetic, gently addictive and never overwrought. The lyrics for their songs are written largely alone and often draw from their own individual lives and experiences but there’s a shared something there. “It makes sense when common threads emerge” they say, “because we do things together a lot as friends: cook, laze about on a weekend, listen to an album, go walkabout, read, go see movies etc.
Strikingly literal or intriguingly oblique, Mildred have a remarkable way with lyrics that lodge themselves in your head softly but with such determination that they begin to feel like shimmering memories from your own life. Fenceline is a collection of songs that you want to hold close and delve into, and yet play to everyone you know.

Over the last decade, Portrayal of Guilt have solidified themselves as a pillar in the extreme underground music scene. With relentlessly consistent releases like 2023’s orchestral nightmare Devil Music, and year-round world touring with the likes of Deafheaven, Uniform and Pg. 99, POG have unquestionably carved their own path.
Defying accurate categorization since formation, the three piece blends elements of black, death and nu metal with crust, screamo, powerviolence and hardcore, with the bands forthcoming LP …The Beginning of The End” continuing to further obscure genre lines. The band takes the unhinged discordance to the next level on album standouts “Ecstasy” and “Human Terror”, with KoRn-like guitar dissonance, punishing death metal lows, and haunting spoken passages confidently riding the line between Life is Peachy and Scum.

It's a realisation that the ground beneath our feet is alive, and we're all just passengers on its pulse. It's that hum of dread and wonder that defines Armed For Apocalypse's fourth full- length album: a towering, grooved- out, post- metal monolith carved from grief, power, and purpose. Formed in Chico, California between longtime friends Nick Harris (drums) and Cayle Hunter (guitar), Armed For Apocalypse is a what- if turned war machine. Over the years, the band has endured enough shakeups and setbacks to bury most acts: relocations, divorces, day jobs, family changes and not to mention complete lineup overhauls. But where others fractured, AFA sharpened.

One which lyrically questions some of the radical changes affecting society. A society of increasing division and tension. Social media, influencers, online dating, the distraction of mobile phones, young adults financially trapped in the family home, AI, and bullying: are all scrutinised. Musically, the style has moved on since the last album, 'Things Are Getting Stranger On The Shore'. New members, Luxagen (keys, vocals) and Steve Thompson (bass) have added their considerable musical talents to an already strong line up of Mordecai (vocals, guitar) Tabitha (Sax, clarinet) and Michael Creech (drums, percussion). The new direction tips a nod to the "Art Rock" and "New Wave" music of the 1970's, with plenty of modern innovation in store to keep things sounding fresh and exciting. Previously, Mordecai Smyth has worked with Terry Bickers (House of Love/Levitation) and recently played live shows supporting Bickers' new band. He has had three albums released by Mega Dodo and has written soundtracks to historical films for the British Film Institute. 'Gather The Scattered Mind' is limited to 100 copies, comes in a gatefold sleeve with lyric insert.

(DL code included)

Six touching tracks that, starting from quiet ambient atmospheres, initially soft, tenuous, and crepuscular, gradually seem to soar... ascending towards celestial spaces, revealing ever-wider and brighter landscapes below, ever-more distant horizons, ever-more infinite spaces...

Highly evocative progressions, guided by sober and delicate melodies and driving, pulsating bass lines, wonderfully deep (best enjoyed with a good stereo system to truly appreciate them), the kind that make your stomach churn before you even perceive the exact frequency and harmonic progression, often "set" in sober rhythmic patterns that mark the time, making a sonic journey even more dynamic and compelling.
If it doesn't surprise you, it's probably only because you've already had the opportunity to explore and "plumb" Fabio Orsi's most recent discography, and are already accustomed to the best of what this new wave of distinctly electronic but ambient-inspired music has to offer.