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Guti returns to Crosstown Rebels with improvisational new EP, ‘You Know Ya Miss Me’.An exploration of instinct, groove, and the new Latin sound, the Argentinian live maestro returns to Damian Lazarus’ imprint on 13th March 2026.

A new wave of Latin-infused groove arrives on Crosstown Rebels, and South American favourite Guti is at the helm. Returning to Damian Lazarus’ imprint with a release that captures his music in its most immediate and expressive form, his four-track ‘You Know Ya Miss Me’ EP marks his first material on the label since 2020, reigniting a relationship that stretches back over 15 years. For the Argentinian artist, the studio has always been a living room, a jam space, a place where ideas can breathe, collide, and evolve naturally. Throughout his career, Guti has blended groove-driven house and Latin percussion into a signature sonic language in which spontaneity guides the process. The result here is a new release that feels as alive as it does intentional, designed for ears, hearts, and dancefloors alike.
Title track ‘You Know Ya Miss Me’ opens with warm rhythmic layers and subtle instrumental interplay, a space where melody and movement coexist freely. ‘What You Give’ follows, pulsing with the organic energy of jam-session dynamics, each percussive gesture and melodic line alive with intention. On the flip, ‘The Truth’ unfurls a rich tapestry of percussion, soulful vocals, and improvisational motifs, while ‘La Nueva Onda Latina’ closes the EP as a vivid statement; an embodiment of the “new Latin sound” at the heart of Guti’s ethos, where instruments, electronics, and collaborative energy meet on equal footing. At its core, ‘You Know Ya Miss Me’ is a showcase of a musical mind at work: deliberate yet free, precise yet flowing, rooted in tradition but open to the unexpected. It’s a reflection of Guti’s belief that dance music can be both kinetic and expressive, that improvisation and groove can coexist, and that the most resonant sounds are born when musicians let go in the moment. This EP invites listeners into that space, to move with the rhythms, and to experience a sound unmistakably Guti; organic, vibrant, and alive.

Manfredi Romano, founder and A&R of Life and Death Records, has been a pivotal figure in electronic music for over two decades. This year marks an important milestone as he is invited to curate the upcoming fabric presents mix for fabric Records, a release that highlights his instinctive storytelling and the distinct musical identity he has cultivated throughout his career.

Manfredi’s journey began in Italy around the turn of the millennium, tour-managing punk bands and organizing left-field music events before completing his studies in computer science at the University of Pisa. He went on to form DAZE, Italy’s first booking agency dedicated exclusively to electronic music, laying the groundwork for what would become a globally influential presence in the scene.
In 2010, he shifted focus to his own artistic project, DJ Tennis, which quickly gained international recognition for its emotive blend of house, techno, and disco. Renowned for creating intimate atmospheres in even the largest spaces, DJ Tennis has performed at leading clubs such as Circoloco Ibiza, Fabric London, and Panorama Bar Berlin, and at major festivals including Sonar, Timewarp, Primavera Sound, and Coachella. His 2022 residency at Phonox in London further showcased his ability to shape dancefloors with nuance and depth. Since 2017, he has also co-founded and curated Rakastella, the celebrated Art Basel Miami festival created in partnership with Life and Death and Innervisions.

As a producer, DJ Tennis draws from early relationships with post-rock pioneers such as Godspeed You! Black Emperor, Tortoise, and Fugazi, channelling their influence into intricately layered electronic compositions. His work has appeared on respected labels including Kompakt, Rhythm Assault, Running Back, !K7, Cercle Records, Aus Music, and Circoloco Records, alongside frequent releases on Life and Death. His remix portfolio includes collaborations with Diplo, Boys Noize, Loco Dice, WhoMadeWho, and Acid Pauli, among many others. He has also previously contributed a DJ-Kicks mix, bringing his eclectic sensibilities to one of electronic music’s most beloved series.

After extended periods living in Miami, Berlin, and Barcelona, DJ Tennis now resides in Paris. Outside the studio and club environment, Manfredi is a passionate chef who has curated menus for charity events and collaborated with Beatport at ADE, Pioneer, and Resident Advisor. He is also an avid collector of bicycles, vintage action figures, and vinyl — his record collection now surpasses eleven thousand pieces.

With the forthcoming fabric presents DJ Tennis release, he offers a deeply personal, narrative-driven statement that reflects decades of crate-digging, boundary-pushing selections, and a lifelong devotion to sound. It marks a new chapter in his artistic evolution and stands as one of the year’s most anticipated entries in the iconic series.
The first single from DJ Tennis is a collaboration with long-time studio partner Ashee, and it immediately sets the tone for the mix: warm, seductive, rhythm-driven, and emotionally charged.

“I Wanna Know” is a sleek club track built around a pulsing groove and a steady, hypnotic rhythm. The low end is rounded and warm, giving the track a driving but understated momentum. Percussion is crisp and minimal, allowing the bassline and vocal elements to take center stage. The repeating, robotic earworm of a vocal hook, “I wanna know’ is the lynchpin to the track and will remain in your head long after the track has finished.

It’s the kind of record that warms up a room early in the night, sets the tone for a sunset beach set, or adds a lush, emotional peak during a more leftfield club moment.

Inspired by the concept of the city as a living, complex entity - a feeling Youniss describes as the difference between "living in a city and just being in that city" - Good Effort! is an open-ended narrative drawn from the artist's own experiences, including growing up on the outskirts of Antwerp.

Like a vibrant city itself, the album is a culmination of organic interactions, layered with diverse perspectives from a collective of artists. Good Effort! features a dynamic cast of collaborators, including international heavyweights like Pink Siifu, Petite Noir, and Quelle Chris, alongside celebrated names from the Belgian underground such as Dienne and Porcelain id.

While retaining his critical edge - especially on themes like gentrification, an acute problem in his home city - Youniss explores the full range of his voice across the album's tracks, resulting in a warmer, more texturally diverse sound.

Tracks like “Notice,” “Glass Ceilings,” and “The Sun Is Falling” expand his textural use of distortion, while others, such as “At the Still Point of the World” and “Why Don’t You?”, float at a more tranquil register. The record's energy peaks on “TakeThat” where Pink Siifu and Youniss trade frenetic bars atop jazzy drum freakouts.

Despite the cynicism forged by witnessing his environment change - like the flattening of the beloved venue Onder Stroom for a parking space - Youniss offers a crucial message of perseverance. The album's title, Good Effort!, is a defiant embrace of trying again.

Formed in 1987 by Fruitbat and Jim Bob, Carter The Unstoppable Sex Machine burst onto the scene with their signature style of punk-pop infused with samples, drum machines, and social commentary. Join Jim Bob and Fruitbat, as they take a retrospective look back at the complete Carter U.S.M. singles, from 1988 to 1997.

First released in 1995, 'Straw Donkey' is an essential introduction to Carter The Unstoppable Sex Machine, featuring the U.K. Top 20 singles 'The Only Living Boy In New Cross', 'After The Watershed (Early Learning The Hard Way)', 'Rubbish', and 'Lean On Me I Won't Fall Over', along with classics such as 'Sheriff Fatman', 'Anytime Anyplace Anywhere' and 'Bloodsport For All'.

Singer-songwriter and multi-instrumentalist Son Little expands his musical palette on his upcoming album, Cityfolk. Blending elements of soul, folk, and blues, Son Little captures his signature sound along with expressive yet personal lyrics. Cityfolk is a reflection on love, loss, and finding peace in the chaos. It"s about holding on, letting go, and learning to breathe again when the world feels heavy. Born Aaron Earl Livingston to a preacher and a teacher in Los Angeles, Little"s collaborations with The Roots and RJD2 helped him make a name for himself in his adopted hometown of Philadelphia. Critics were quick to recognize the unique power of Little"s solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little"s "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent." Since then, his catalog has racked up over 250 million streams, and Little has toured with everyone from Leon Bridges and Kelis to Shakey Graves and Mumford & Sons alongside festival appearances at Bonnaroo, Newport Folk, and more. Never one to rest on his laurels, Little also earned a GRAMMYî for his work helming Mavis Staples" acclaimed "See That My Grave Is Kept Clean."

The groove never skipped a beat. 10 years after Global Warming and 2 years after Breaking to the Bus Stop, Romain Dalmasso aka Lord Funk, remains an insatiable crate-digger driven by one thing: the dancefloor. With his 3rd LP, More Orgasms, he drops a record that literally bleeds club culture and raw funk.

This is a deeply organic album. Moving away from clinical productions, the french producer gathered a tribe of top-tier musiciansto bring a living, breathing soul to every track. It’s an in-depth study of groove where cutting-edge electronics meet organic warmth and human vibration.



The tracklist is a map of his musical heart: from the R&B anthem First Crush co-written with his partner-in-crime Guillaume Atlan (The Supermen Lovers) and ignited by Shahdo, to the sharp 80s-Blondie energy of Merryn Jeann. True to his hedonistic roots, the vinyl sleeve doubles as an adult board game. More Orgasms isn't just a release; it’s a tangible piece of club culture—a heavy, singular pressing for the diggers and the lovers who want music that has soul and sweat in its DNA.

Mizery aus San Diego sind ein rebellisches Kraftpaket, das mit seinem Crossover-Hardcore-Sound für Aufsehen sorgen will. Mizery wurden 2014 mit ihrer EP ,Survive The Vibe" bekannt, gefolgt von ihrem 2016 erschienenen Album ,Absolute Light" (Flatspot Records). Mit ihren groovigen Rhythmen und dynamischen Live-Auftritten erregten sie schnell Aufmerksamkeit. Die Idee zu Mizery hatten die Kindheitsfreunde Jose Luna (Gesang) und Taylor Parker (Leadgitarre). Als die beiden den Schlagzeuger Cayle Sain trafen, wurde aus der Idee echt was. Bald darauf holten sie Miguel ,Mikey" Salazar am Bass dazu und begannen als Vierergruppe zu komponieren. Nach der Veröffentlichung des Albums tourten Mizery mit Genre-Größen wie Power Trip, Terror und Backtrack und nahmen Ahmad Ali am Bass auf, wodurch Mikey zur Rhythmusgitarre wechselte. Wie der Rest der Welt kam auch die Band während der Pandemie zum Stillstand, schrieb aber weiter Songs und war bereit, mit voller Kraft zurückzukommen. Im Dezember 2023 erschütterte der unerwartete Tod des Schlagzeugers Cayle Sain, der auch mit Twitching Tongues, God's Hate und GhosteMane auftrat, die Musikszene und brachte Mizery verständlicherweise zum Stillstand. Während sie ihre Trauer verarbeiteten und nachdachten, wussten die Mitglieder von Mizery, dass sie weitermachen mussten, und eine gefundene Aufnahme gab ihnen ein neues Ziel. Jose und Taylor entdeckten, dass Cayle die Vorproduktions-Demos, die sie ihm geschickt hatten, genommen und in einem professionellen Studio Schlagzeugspuren dafür aufgenommen hatte. Mit der Hilfe des Produzenten Taylor Young (The Pit) konnte die Band diese Schlagzeugspuren bekommen und sie für ihre selbstbetitelte EP verwenden. Die Mizery-EP, die am 20. März 2026 bei Flatspot Records erscheinen soll, ist ein offen politisches Album, das sich um Erneuerung und Reflexion dreht. In den sechs Tracks werden die Texte als Waffe eingesetzt, wie Jose erklärt: ,Es ist eine Reflexion einer Welt, die einige von uns sehen und andere ignorieren. Die Gewalttaten, die Angst vor Gewalt und die Auswirkungen von Gewalt." Die Songs weichen von einem geradlinigen Kurs ab und mischen mitreißende Rap-Gesangspassagen mit metallischen Riffs, einfallsreichen Grooves und einigen Überraschungen. Die Einflüsse stammen von Leeways ,Adult Crash", Merauders ,5 Deadly Venoms" und Only Living Witness' ,Innocents", kombiniert mit den Werken von Rage Against The Machine und P.O.D., die die Bandmitglieder in ihrer Jugend geprägt haben. Schon beim Opener ,Renegade Rhythm" wird klar, dass Mizery es ernst meint, wenn sie sich mit dem Zustand der Welt auseinandersetzen und dabei Musik machen, die im Kopf bleibt. ,The Weapon PT.II" ist der lauteste Track auf der EP und setzt auf Worte, um Veränderungen zu bewirken, statt auf physische Gewalt. Den Abschluss der EP bildet der selbstgerechte Song ,Eulogy" mit Gastgesang von Sammy Ciaramitaro von DRAIN. Der Song entstand als frühe Demo und war der einzige Track, für den Cayle programmierte Drums anstelle von Studioaufnahmen verwendet hatte. Um die Single zu vervollständigen, sprang Schlagzeuger David Stalsworth (Militarie Gun, Torena) bei den Aufnahmen ein und ist nun Mitglied von Mizery. Während manche die Veröffentlichung der EP als Triumph betrachten mögen, ist sie für Mizery ein Beweis für ihre Beharrlichkeit und zeigt, dass die Band bereit ist, in eine neue Ära einzutreten.

Mizery aus San Diego sind ein rebellisches Kraftpaket, das mit seinem Crossover-Hardcore-Sound für Aufsehen sorgen will. Mizery wurden 2014 mit ihrer EP ,Survive The Vibe" bekannt, gefolgt von ihrem 2016 erschienenen Album ,Absolute Light" (Flatspot Records). Mit ihren groovigen Rhythmen und dynamischen Live-Auftritten erregten sie schnell Aufmerksamkeit. Die Idee zu Mizery hatten die Kindheitsfreunde Jose Luna (Gesang) und Taylor Parker (Leadgitarre). Als die beiden den Schlagzeuger Cayle Sain trafen, wurde aus der Idee echt was. Bald darauf holten sie Miguel ,Mikey" Salazar am Bass dazu und begannen als Vierergruppe zu komponieren. Nach der Veröffentlichung des Albums tourten Mizery mit Genre-Größen wie Power Trip, Terror und Backtrack und nahmen Ahmad Ali am Bass auf, wodurch Mikey zur Rhythmusgitarre wechselte. Wie der Rest der Welt kam auch die Band während der Pandemie zum Stillstand, schrieb aber weiter Songs und war bereit, mit voller Kraft zurückzukommen. Im Dezember 2023 erschütterte der unerwartete Tod des Schlagzeugers Cayle Sain, der auch mit Twitching Tongues, God's Hate und GhosteMane auftrat, die Musikszene und brachte Mizery verständlicherweise zum Stillstand. Während sie ihre Trauer verarbeiteten und nachdachten, wussten die Mitglieder von Mizery, dass sie weitermachen mussten, und eine gefundene Aufnahme gab ihnen ein neues Ziel. Jose und Taylor entdeckten, dass Cayle die Vorproduktions-Demos, die sie ihm geschickt hatten, genommen und in einem professionellen Studio Schlagzeugspuren dafür aufgenommen hatte. Mit der Hilfe des Produzenten Taylor Young (The Pit) konnte die Band diese Schlagzeugspuren bekommen und sie für ihre selbstbetitelte EP verwenden. Die Mizery-EP, die am 20. März 2026 bei Flatspot Records erscheinen soll, ist ein offen politisches Album, das sich um Erneuerung und Reflexion dreht. In den sechs Tracks werden die Texte als Waffe eingesetzt, wie Jose erklärt: ,Es ist eine Reflexion einer Welt, die einige von uns sehen und andere ignorieren. Die Gewalttaten, die Angst vor Gewalt und die Auswirkungen von Gewalt." Die Songs weichen von einem geradlinigen Kurs ab und mischen mitreißende Rap-Gesangspassagen mit metallischen Riffs, einfallsreichen Grooves und einigen Überraschungen. Die Einflüsse stammen von Leeways ,Adult Crash", Merauders ,5 Deadly Venoms" und Only Living Witness' ,Innocents", kombiniert mit den Werken von Rage Against The Machine und P.O.D., die die Bandmitglieder in ihrer Jugend geprägt haben. Schon beim Opener ,Renegade Rhythm" wird klar, dass Mizery es ernst meint, wenn sie sich mit dem Zustand der Welt auseinandersetzen und dabei Musik machen, die im Kopf bleibt. ,The Weapon PT.II" ist der lauteste Track auf der EP und setzt auf Worte, um Veränderungen zu bewirken, statt auf physische Gewalt. Den Abschluss der EP bildet der selbstgerechte Song ,Eulogy" mit Gastgesang von Sammy Ciaramitaro von DRAIN. Der Song entstand als frühe Demo und war der einzige Track, für den Cayle programmierte Drums anstelle von Studioaufnahmen verwendet hatte. Um die Single zu vervollständigen, sprang Schlagzeuger David Stalsworth (Militarie Gun, Torena) bei den Aufnahmen ein und ist nun Mitglied von Mizery. Während manche die Veröffentlichung der EP als Triumph betrachten mögen, ist sie für Mizery ein Beweis für ihre Beharrlichkeit und zeigt, dass die Band bereit ist, in eine neue Ära einzutreten.

Neuauflage von Kadavars Album "Live in Antwerp", das ursprünglich 2014 veröffentlicht wurde! ,Live in Antwerp" ist ein Konzertmitschnitt der Hardrock Stoner Kadavar, das 2014 bei Nuclear Blast erschienen ist. Es war ihr erstes Live-Album und insgesamt viertes. Die Platte enthält Live-Versionen von elf Titeln, die ursprünglich auf den Studioalben ,Kadavar" und ,Abra Kadavar" erschienen sind und im November 2013 im Trix in Antwerpen, Belgien, aufgeführt und aufgenommen wurden. "Kadavar are a great live band and Live In Antwerp is a noble testament to that fact." - The Sleeping Shaman 2014 - Lineup: Lupus Lindemann - Guitar /Vocals - Christoph Tiger Bartelt - Drums - Simon Dragon Bouteloup - Bass - Shazzula Vultura - Theremin - Classic black vinyl, 2LP, gatefold sleeve.

Neuauflage von Kadavars Live-Album "Live in Copenhagen", das ursprünglich 2017 veröffentlicht wurde (Nuclear Blast). Das Album enthält KADAVARs berüchtigten Auftritt im Pumpehuset in der dänischen Hauptstadt im November 2017 während der Tournee zu ihrem Album ,Rough Times". Hier zeichnen Kadavar am 9. November 2017 das zweite Live-Album ihrer achtjährigen Karriere auf. Die Frage, wieso die Band so viele Konzerte offiziell für die Nachwelt festgehalten hat, erübrigt sich schnell: Erst live entfalten ihre Songs jene Wucht, die selbst die besten ihrer Studioaufnahmen nicht einfangen können . "Live In Copenhagen" ist klar und fokusiert, aber nicht steril gemischt, mit Stücken aus allen bis dato erschienenen Studioalben. "Überragendes Livedokument einer überragenden Band". - Time For Metal 2018 Classic black vinyl, 2LP, gatefold sleeve.

Oxblood Vinyl, limitiert auf 200 Exemplare. Neuauflage von Kadavars Live-Album "Live in Copenhagen", das ursprünglich 2017 veröffentlicht wurde (Nuclear Blast). Das Album enthält KADAVARs berüchtigten Auftritt im Pumpehuset in der dänischen Hauptstadt im November 2017 während der Tournee zu ihrem Album ,Rough Times". Hier zeichnen Kadavar am 9. November 2017 das zweite Live-Album ihrer achtjährigen Karriere auf. Die Frage, wieso die Band so viele Konzerte offiziell für die Nachwelt festgehalten hat, erübrigt sich schnell: Erst live entfalten ihre Songs jene Wucht, die selbst die besten ihrer Studioaufnahmen nicht einfangen können . "Live In Copenhagen" ist klar und fokusiert, aber nicht steril gemischt, mit Stücken aus allen bis dato erschienenen Studioalben. "Überragendes Livedokument einer überragenden Band". - Time For Metal 2018

Grünes Vinyl, limitiert auf 200 Exemplare. Neuauflage von Kadavars Album "Live in Antwerp", das ursprünglich 2014 veröffentlicht wurde! ,Live in Antwerp" ist ein Konzertmitschnitt der Hardrock Stoner Kadavar, das 2014 bei Nuclear Blast erschienen ist. Es war ihr erstes Live-Album und insgesamt viertes. Die Platte enthält Live-Versionen von elf Titeln, die ursprünglich auf den Studioalben ,Kadavar" und ,Abra Kadavar" erschienen sind und im November 2013 im Trix in Antwerpen, Belgien, aufgeführt und aufgenommen wurden. "Kadavar are a great live band and Live In Antwerp is a noble testament to that fact." - The Sleeping Shaman 2014 - Lineup: Lupus Lindemann - Guitar /Vocals - Christoph Tiger Bartelt - Drums - Simon Dragon Bouteloup - Bass - Shazzula Vultura - Theremin - Green coloured vinyl, 2LP, gatefold sleeve.

Neuauflage von Kadavars Album "Live in Antwerp", das ursprünglich 2014 veröffentlicht wurde! ,Live in Antwerp" ist ein Konzertmitschnitt der Hardrock Stoner Kadavar, das 2014 bei Nuclear Blast erschienen ist. Es war ihr erstes Live-Album und insgesamt viertes. Die Platte enthält Live-Versionen von elf Titeln, die ursprünglich auf den Studioalben ,Kadavar" und ,Abra Kadavar" erschienen sind und im November 2013 im Trix in Antwerpen, Belgien, aufgeführt und aufgenommen wurden. "Kadavar are a great live band and Live In Antwerp is a noble testament to that fact." - The Sleeping Shaman 2014 - Lineup: Lupus Lindemann - Guitar /Vocals - Christoph Tiger Bartelt - Drums - Simon Dragon Bouteloup - Bass - Shazzula Vultura - Theremin - Classic black vinyl, 2LP, gatefold sleeve.

Weiß/orange/schwarzes A/B Splatter Vinyl. Neuauflage von Kadavars Live-Album "Live in Copenhagen", das ursprünglich 2017 veröffentlicht wurde (Nuclear Blast). Das Album enthält KADAVARs berüchtigten Auftritt im Pumpehuset in der dänischen Hauptstadt im November 2017 während der Tournee zu ihrem Album ,Rough Times". Hier zeichnen Kadavar am 9. November 2017 das zweite Live-Album ihrer achtjährigen Karriere auf. Die Frage, wieso die Band so viele Konzerte offiziell für die Nachwelt festgehalten hat, erübrigt sich schnell: Erst live entfalten ihre Songs jene Wucht, die selbst die besten ihrer Studioaufnahmen nicht einfangen können . "Live In Copenhagen" ist klar und fokusiert, aber nicht steril gemischt, mit Stücken aus allen bis dato erschienenen Studioalben. "Überragendes Livedokument einer überragenden Band". - Time For Metal 2018 Ltd Splattervinyl, 2LP, gatefold sleeve.

Following a trilogy of introductory EPs, a buzzed-about tour with Alvvays, and a mountain of global acclaim since they first emerged in 2022, the Stockholm-based trio teamed up with Alex Farrar (Wednesday, Snail Mail) for their first-ever full-length record. A sun-drenched prism of Girl Scout’s guitar-driven indie rock, Brink refracts with a new glow from each song to the next. Towering anthems intersecting with hushed tenderness. Nostalgia with momentary living. Doubt with joy. Forever a band of dualities, Brink is no exception for Girl Scout. Comprised of 13 tracks caught between apocalyptic anxiety and wistful escapism, the album captures the all-too-familiar crossroads of feeling stuck, yearning for change, and standing on the edge of something unknown.

It's hard to fathom Martin Bramah's trajectory from his beginnings as a guitarist/writer behind two crazily influential postpunk albums - The Fall's Live At The Witch Trials and Blue Orchids' The Greatest Hit (Money Mountain) (vocalist on the latter too, of course) - then nearly three decades of sporadic-at-best activity, offering releases just frequently enough to remind fans of his peculiar brilliance . . . before another stay in the void. Chalk it up to what you want - Mark E. Smith's utter usurpation of The Fall, his split from partner Una Baines after Blue Orchids' debut, the vague collapse of rash experimentation in `underground' music as early `80s nu-pop and American college rock diluted any real spirit, a few failed attempts at working with with Mark again . . . and maybe just life getting in the way. A sense of lost opportunities isn't tough to justify. Inasmuch as Martin was originally the singer for The Fall - Mark began as guitarist but couldn't play! - and given that the group's mythology was born in an era before that gang of Mancunian misfits had even thought of playing, it's high irony that 49 years after The Fall began, Martin has both become wildly prolific and the leader of a band with more rights of inheritance to The Fall's credibility than any other living person could justify . . .yet the band isn't remarkable for that as it is for the range and wealth extent of their collective powers and talent: two great and original guitarists, three of the UK's most daringly-skilled drummers, a genuine bass legend, and a brilliant spare Blue Orchid guitarist. Four albums in, the HOUSE Of ALL is getting ambitious, with each album a subtle improvement on the last, forging a path away from their pasts without denying a thing. Inklings differs from the first three for not having being largely improvised at first, with sounds, rhythm, groove and melody later forged into songs. They rehearsed! They had fun doing it! They're going on an extended tour! There were even extra tracks! We'll leave it to fans and critics to sit down and analyse the specifics of it all, but Steve, Si, Pete, Phil, Karl and Martin have made a bold and powerful album unlike any other you'll hear in 2026 . . . stately, majestic, bold and worthy of a group of real survivors. In perverse form, the album will be officially announced and preceded by a song not on the album!

2026 Repress!

LIMITED EDITION SPLATTER VINYL

More Strictly Rhythm GOLD right here. An all-time, hands down, unstoppable CLASSIC record from way back - 1995 to be precise. If you don't know this record it's possible you've been in a coma, living in a cave with no electricity or have literally just arrived here on planet earth. Either way, once you hear 'Higher State Of Consciousness' you certainly won't forget it. Produced by Philly's legendary Josh Wink and released by the forward thinking A&R team at Strictly. At the time there was very little to nothing that even came close to this release. The 'Tweekin Acid Funk' mix being the highlight and the version that caught everyone's ears and captured minds worldwide across radio-waves with endless rewinds on MTV and in the clubs. Foreseeing the impending 'Breaks' boom that came around in the mid to late 90's 'Higher State...' was one of those rare moments where a record truly transcends genre boundaries and found it's way into DJ's boxes and bags on every scene. A mighty, evergreen slab of wigged out, acidic, breakbeat chaos. Essential. This one's a tasty 2017 reissue and remaster, featuring all 3 mixes, unedited, as per the original release way back when. Do not sleep.

Creaked out of an eck with two heads and no brain - just fracking around. Juli Zimmer and Sayizan Stange are Blowjobs Are Real Jobs, crawling right under your skin. Armed with guitar, MS-20 and a trashy drum machine, they bark about dogs, ostriches, stolen bodies, heads buried in sand, plastic spoons in freezer pops, and the big question of where the hell this whole loving-living thing is going anyway. The songs build up expectations like a delicious drink, which then, oops, gets taken away and never delivered. That’s how it is sometimes, you little puffball!

End of 2025, Blowjobs Are RealJobs dropped their first DIY tape, Bloody Situation Menstruation Masturbation. Their notorious sets, somewhere between performance art and riot gig, pop up almost monthly: gallery openings, summer garden chaos, or grimy St. Pauli basement bars. Now the duo’s first 7-inch vinyl brings 5 songs at 45 rpm with a fold-out cover, limited to 200 copies.

Hypnotic Mindscapes returns with its sixth release, introducing Lisbon-based artist Jorge—by way of NYC—through a tightly constructed, high-fidelity four-track EP. Progressive-tinged tech-house meets crisp vocoders and understated oscillations in an acoustic inspired techno format, designed for peak-hour precision. Electro-breakbeat accents cut through deep, rounding out a sharp and focused trip.

Die internationale Rocksensation The Hives, die beste Liveband der Welt und immer noch eure neue Lieblingsband, hat wieder einmal, schneller als erwartet, ein neues Werk geschaffen, wie man es noch nie gehört hat und wahrscheinlich auch nie wieder hören wird. Ihr siebtes Album 'The Hives Forever Forever The Hives' erscheint am 29. August auf dem ehrwürdigen Label Play It Again Sam. Ein neues Album voller Energie, Freude, Wut und Leben! Jeder einzelne Song eine Single, jede einzelne Single ein Hit, jeder Hit ein Volltreffer mitten ins Gesicht. Diese neue Meisterwerk entstand unter der Leitung des langjährigen Kollaborateurs Pelle Gunnerfeldt in Stockholm. Mike D von den legendären Beastie Boys ist als Gast vertreten und auch Josh Homme (Queens Of The Stone Age) stand mit Rat und Tat zur Seite.

The Hives, bestehend aus Howlin’ Pelle, Chris Dangerous, The Johan And Only, Nicholaus Arson und Vigilante Carlstroem, haben sich in über dreißig Jahren in die Annalen der Rockgeschichte eingeschrieben. Dank ihrer Erfolge füllten sie große Stadien und teilten die Bühne mit so monumentalen Acts wie AC/DC und den Rolling Stones. Die BBC bezeichnete sie als „Naturgewalt“, und der Rolling Stone kürte ihr Album 'Veni Vidi Vicious' zu einem der 100 besten Alben des Jahrzehnts. Mit Millionen verkaufter Alben, Platin-Auszeichnungen und zahlreichen Preisen - Grammys, MTV Awards, NME Awards - gelten sie als Titanen der Musikwelt. Oder wie Joe Strummer es gesagt hat: The Hives haben den Rock ’n’ Roll gerettet!

Dance Mania from 1958 is Tito Puente's bestselling and most essential album. Delivering incredibly tight mambo rhythms, Puente knew how to get his traditional southern American music across. Helped by an impeccable, vivid stereo production (as part of RCA's aptly named original "Living Stereo" series), this infectious mix of Latin dance tracks will get anyone up on their feet. Featuring the inimitable Ray Baretto on percussion,

The album does exactly what the title says: shake your derriere like you just don't care! This record should belong in everyone's jazz, soul or Latin music record collection.

Dance Mania is available as a limited edition on green vinyl.

For more than three decades, Converge have delivered musical and emotional catharsis, putting purpose before perception and intent before interpretation. Whether it’s their 2001 landmark recording Jane Doe or their 2021 Bloodmoon: I collaboration with Chelsea Wolfe, they have created some of the most compelling music, lyrics, and visual art of the 21st century. During that time, fewer bands have had a greater impact on the underground imagination. It seems unlikely that anyone who has been making music for this long would create one of their best works for their eleventh album, in their 35th year as a band. And yet: Love is Not Enough might be the apotheosis of Converge’s decades-long journey through the punk, hardcore and metal microcosm. What vocalist/lyricist Jacob Bannon, guitarist/producer Kurt Ballou, bassist/vocalist Nate Newton and drummer Ben Koller have created is a strident artistic statement on the turmoil of living that hones their collective strengths to a razor’s edge. There isn’t an ounce of fat. Every song moves with a power and purpose that eclipses their human origins, that speaks to the anger, pain, and frustration of the modern age.

Demetrio Castellucci and Massimo Pupillo present the music of Sleep Technique, a performance by Dewey Dell inspired by the Chauvet cave and its ancient cave paintings.
The music comes to life anew on record, an immersion into the depths of sonic particles, moist electroacoustic rhythms, the repeated forms of speleothems, and the electric bass that scrapes the walls, shaping them into concave or convex surfaces. A voice that moves incredibly slowly, yet is in constant motion, like the millennia-old, unceasing erosion of water.
The album’s journey follows the geography of the cave in reverse, moving from its deepest chamber back to the entrance.

Demetrio Castellucci is a composer and sound designer who has been involved in theater productions, choreography, and film since 2004. Around the same time, he began performing as a DJ, favoring an omnitemporal approach geared toward dance that transcends musical genres. Since 2006, he has been a member of the dance company Dewey Dell, and since 2007, he has been active as Black Fanfare, a maximalist electroacoustic project. He has collaborated on performances by Andreco and Enrico Ticconi/Ginevra Panzetti, as well as on films by Ahmed Ben Nessib, Beatrice Pucci, and Ilaria di Carlo. After living in London and Berlin, he settled in Vilnius, where in 2018 he founded Unarcheology, a digital platform that publishes music and radio programs. He is also active as Airport Gad, an ambient project which, together with Unarcheology, launched its own “Airline Company”: concerts in a flight simulator built from cardboard, where the pilots are also the musicians.

Massimo Pupillo is best known as a founding member of the band Zu, with whom he has released 18 albums and performed over 2,000 live shows worldwide. He has maintained a highly open and multidisciplinary approach that has led him to work with some of the most acclaimed figures in the contemporary art world: South African photographer Roger Ballen, actors Malcolm McDowell and Marton Csokas, Romeo Castellucci and Chiara Guidi of Societas Raffaello Sanzio, American choreographer Meg Stuart, poet Anne Waldman, and Italian poet Gabriele Tinti, among others. He has collaborated live and in the studio with avant-garde musicians and composers such as Alvin Curran, piano duo Katia & Marielle Labèque, and classical virtuosos like Viktoria Mullova and Giovanni Sollima. He has also worked with some of the most influential names in the international rock scene, including Mike Patton, Thurston Moore, Jim O’Rourke (Sonic Youth), Guy Picciotto & Joe Lally (Fugazi), Buzz Osborne (Melvins), and Damo Suzuki (CAN).

In the field of improvised music, he has collaborated with Peter Brötzmann, Toshinori Kondo, Mats Gustafsson, Ken Vandermark, and Tony Buck, among others. Within the experimental music scene, his collaborations include Oren Ambarchi, David Tibet (Current 93), Thighpaulsandra (Coil), Stephen O’Malley (Sunn O))), Abul Mogard, Mick Harris (Scorn), Gordon Sharp (This Mortal Coil), FM Einheit (Einstürzende Neubauten), and many more. In cinema, he composed the score for Kirill Serebrennikov’s film LIMONOV, presented at Festival de Cannes in 2024.

New Calibre D&B album 'they want you'

All Vocals, lyrics and production by Calibre

Turma da Bênção – A Semba Gathering Across Generations

Conjunto Angola 70 & Paulo Flores

The Turma da Bênção project brings together Conjunto Angola 70, a collective dedicated to recreating and preserving the golden-era sound of Angolan music from the 1970s, and Paulo Flores, one of the most important ambassadors of semba worldwide and one of the creators of kizomba. Throughout his career, Flores has built bridges between tradition and modernity, helping shape the global understanding of contemporary Angolan music.

Recorded in Lisbon in 2018 in an intimate “roda de semba” setting, informal jam sessions rooted in collective rhythm and storytelling, Turma da Bênção gathers legendary musicians such as Botto Trindade (guitar), Joãozinho Morgado (congas) and Teddy N’Singui (guitar); mid-generation artists including Galiano Neto (percussion), Paulo Flores (vocals and artistic direction) and Pirika Duia (viola); and younger creators such as Mayo Bass (bass), Jéssica Pina (trumpet) and Armando Gobliss (keys).

The result is a powerful dialogue between eras. Classic Angolan repertoire meets new compositions, all deeply rooted in semba — the rhythmic and poetic foundation from which kizomba later emerged.

The album revisits emblematic songs such as Runfo da Liberdade, Memórias de Gui and Lamento de Duia, while introducing new works including Morgadinho, Catuta 45, Boas Festas Conterrâ and Réveillon, the latter awarded Semba of the Year at the Angola Music Awards in 2020.

Before this LP, Keep On Pushin Records released the singles Turma da Bênção presents: Joãozinho Morgado and Turma da Bênção presents: Botto Trindade, building anticipation for what now becomes the label’s first full-length vinyl release.

Issued on vinyl in the year Angola celebrates 50 years of Independence, Turma da Bênção stands as a symbolic statement, honoring the elders, empowering the present generation, and ensuring that the pulse of semba continues to resonate across borders.

Turma da Bênção is more than an album. It is a rare intergenerational encounter and a living celebration of Angola’s musical heritage.

WRWTFWW Records is very pleased to announce the first-ever vinyl release of Art Form 2, the seminal 1998 Various Artists compilation from Tokyo’s cult label FORM@ RECORDS, now available as a limited edition double LP housed in a heavyweight sleeve, as part of the ongoing collaborative series between the Swiss and Japanese labels.
Initially available only in CD form, Art Form 2 emerges as a quiet artifact from an exploratory phase in FORM@ RECORDS’ late-1990s trajectory. The compilation drifts through the deeper layers of Tokyo’s electronic underground, where IDM, techno, ambient, and downtempo dissolve into one another within an atmosphere of deliberate experimentation. Both intimate and forward-looking, it preserves a moment in which a local scene, largely unseen, was patiently reshaping the future beyond the reach of prevailing global narratives.
Flowing with carefully sculpted rhythms, immersive sound design, and a subtle sense of machine soul, Art Form 2 reflects the maturity of the FORM@ aesthetic in 1998. The compilation resonates with the spirit of Warp’s Artificial Intelligence era, Carl Craig’s melodic futurism, Ken Ishii’s cerebral techno, B12’s deep electronics, and Ian O’Brien’s emotive touch, while remaining unmistakably rooted in its own local context. Timeless and singular, it stands as a beautifully preserved time capsule of underground electronic music.
Following the vinyl excavations of Virgo’s Landform Code (1998) and Remnants (1999), Art Form 2 continues WRWTFWW Records’ collaboration with FORM@ RECORDS. It is released simultaneously with Art Form I (1997), further expanding this archival series, which will continue with the forthcoming vinyl edition of Re-Form Ver-1.0 (1999).

Y2K25: The Music That Made The Millennium (Various Artists) - VinylOops!we did it, again! Get ready to relive the magic of the millennium with Y2K25: The Music That Made the Millennium. Say Bye Bye Bye to your playlistthis is the way you want your music. Featuring pure nostalgic bliss from NSYNC, Backstreet Boys, Britney Spears, Christina Aguilera, Mariah Carey, TLC, P!nk, Ricky Martin, and so many more. Let that genie out of the bottle, grab your Tamagotchi, flip phone, and CD player to enjoy the biggest anthems from the biggest stars. Order now and escape the everyday existential dread for 78 minutes and 48 seconds of pure nostalgic bliss. 20 chart-topping hits on 1 unforgettable CD (or 12 hits on 1 totally awesome vinyl!) Dont Wait for Tonight. Dont be a Teenage Dirtbag. Celebrate Y2K, 25 years later.

Soft Echoes presents the first physical edition of ‘In a Few Places Along the River’ by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release.

Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space.

‘Against a White Cloud’ and ‘In True Contemplation’ open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece ‘Along the River’, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn't break the wilful suspension of disbelief: you stay in its trance.”

“Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of ‘Along the River’ was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.”

After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.”

Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note.

The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s ‘Slow Walker’ audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film ‘Soixante-sept millisecondes’.

Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.

I fell into a deep sleep of reason Everything broken and hence when I woke up from that deep sleep of reason it all made sense

A Unique Artistic Partnership This project represents a distinct and carefully considered artistic endeavor. Developed by Mark Springer (Rip, Rig and Panic) and Neil Tennant (The Pet Shop Boys), it combines a suite for piano, quartet, and quintet with vocals, accompanied by lyrics offering thoughtful introspection. The collaboration explores the intersection of divergent creative approaches-one characterized by radical expression, the other by meticulous craftsmanship. The result is a work that invites reflection and demonstrates the potential of disciplined artistic dialogue.

The Sources of the Project Neil Tennant: I bought a book of Goya's print series Los Caprichos which had inspired Mark's music and saw that the artworks were a satirical, cruel, nightmarish portrayal of the politics, corruption and culture of his era, exploring his dreams - or nightmares - while exposing the double standards of the ruling establishment. The lyrics I wrote for "Sleep of Reason", in response to Los Caprichos, are intended to be sardonic and dreamlike, looking back to Goya's nightmares but then reflecting on my experiences in 21st Century popular culture and media in which I have located the "monsters" Goya saw in his dreams. It often feels like we're living in an era dominated by monsters with their grotesque egos hollering through social media, unfiltered and untruthful, leaving a trail of wreckage behind them. Maybe it's always felt like that.

Death Is Not The End present a compilation gathering a cross-section of early gospel choirs and vocal harmony groups recorded between late 1920s and the mid-1950s - a period when spirituals & jubilee traditions merged with blues, jazz and early rhythm and blues, providing the musical routes for the coalescence of the civil rights movement born out of the black church. In the modern world these perennially vital recordings provide a fitting tonic for the near-dystopia we find ourselves living through.

Repress.

Just one week after the outbreak of the First Intifada in 1987, Riad Awwad brought his sisters Hanan, Alia and Nariman together in their living room and began recording The Intifada album on equipment he had made himself. One of these was co-written with their friend, the acclaimed Palestinian writer Mahmoud Darwish. Riad printed 3000 copies of the cassettes which he began distributing in the Old City of Jerusalem and across the West Bank. The Israeli Army immediately confiscated all the copies they could find, the vast majority of which remain in the military archives to this day. Riad was arrested, interrogated and detained for several months. Straight after his release, he formed a band, Palestinian Union, and put out a new album. He then founded a school, offering kids in the West Bank an alternative musical education, teaching them how to create their own electronic equipment. In 2005, Riad was tragically killed in a car accident. His legacy lives on through his family, his timeless music and his powerful story, which continues to inspire to this day.

Over several years, Mo’min Swaitat has amassed an archive of rare tapes and vinyl from Palestine and beyond. Many of these were acquired from a former record label in his hometown of Jenin, in the north of the West Bank. The Majazz Project is a research project and record label borne out of the archive, focused around sampling, remixing and reissuing vintage Palestinian and Arabic cassettes and LPs, shedding new light on the richness and diversity of Arabic musical heritage.

One Believer, the Elektra debut by the late bluesman John Campbell, was outside of virtually every trend on major labels and in pop at the time. Other than Chris Whitley's Living with the Law, it was the only roots record issued on a major label in 1991.

A deeply atmospheric record full of subtle shimmering organs and warm guitar textures that accent the dreamy spooky side of the blues more than the crunchy stomp and roll that Campbell was known for in the clubs and displayed on his follow-up Howlin' Mercy. Tracks like "Angel of Sorrow," "World of Trouble," and "Wild Streak" offer shimmering ambient textures from which the blues emanate from the ether. Campbell was living and working in New York and his music was certainly influenced by that late-night environment. These are beautiful songs, tempered in shadow and restraint while baring their teeth at all the right moments. On "Couldn't Do Nothin'," "Devil In My Closet," and "Person to Person the roadhouse magic comes out. The album's last two tracks "Take Me Down" and the title track are menacing in their conviction and creepy swampy in execution.

One Believer is available as a limited edition of 750 individually numbered copies on blue vinyl and contains an insert.

Becoming Forest is the fifth full-length record by Amuleto. It comes from an encounter between the group’s core duo, Francesco Dillon and Riccardo Wanke, and multi-instrumentalist performer and composer Stefano Pilia (Mike Watt, Rokia Traoré, 3/4HadBeenElminated, Massimo Volume, Afterhours, Zaire).

This meeting — developed from long-term parallel collaborations and converging musical paths — produced a set of tracks that combine acoustic and traditional instruments (cello, guitar, harmonium, voice) with electronics, natural sounds and unconventional sound manipulations.

Drawing on literature, travels, drawings, poetry and little-known traditions from around the world, the tracks of Becoming Forest sit in a subtle equilibrium between contemporary composition, folk themes and electronic music.

This is a journey through memories of the past and echoes of the future — intimate and aggressive; music that combines minimal textures with distorted progressions, with delicate vocal lines inhabiting post-digital, noisy environments — a reminder that individual voices form part of a larger, living forest.

The Delines were finishing the "Mr. Luck & Ms. Doom" sessions when Willy brought in a tune called "Walking With His Sleeves Down". Vocalist Amy Boone learned it on piano and the Band recorded it live. The take was stunning but the song didn"t quite fit the record so they set it aside along with "The Reckless Life", "Dilaudid Diane" (featured in their recent encores) and "Jumping off in Madras". The song worked sonically but again didn"t feel quite right lyrically and when they finished the record Willy couldn"t stop writing songs for it. The US opioid epidemic with thousands of young people rattled with addiction and living in tents and on the streets and in old cars and RVs, influenced "Luck and Doom" but even more so with The Set Up. Their stalwart producer, John Morgan Askew, was at the helm again and he"s the king of building atmospheric worlds. You can really feel it on this one. By the time we finished they realized "The Set Up" was the wayward, misguided, and lonely sister to "Mr. Luck & Ms. Doom". More ragged and undone but all CinemaScope Delines.

Diagonale des Yeux is the new band formed by two of France’s admired and adventurous artists. Laurène Exposito, we know as EYE, our longest regular contributor to the label — and friend Théo Delaunay, member and producer of Parasite Jazz, panoptique, De Klok & Violent Quand On Aime.

In Knekelhuis we have a particular fondness for artistic outputs that resist easy categorisation, and Diagonale des Yeux inhabits precisely that kind of territory.

Every aspect of the project is DIY/homemade. Their world drifts along the fringes of cabaret, strange 1980s French underground pop music to contemporary lo-fi scene — evoking the spirit of Nini Raviolette and The Residents — while delivering beautifully written songs that lodge themselves in your head almost immediately like a Cindy Lee ballad.

The tracks on Madeleine squeak and creak, wobbling on fragile hinges before suddenly opening onto moments of pure beauty.

Drums and guitars follow up synths and electronic percussions captured on tape between living rooms, studios and a concert space.

The band has a kink for choirs and playfully uses diverse languages. Their lyrics emerge through a homemade, patented four-hands cadavre exquis (Exquisite Corpse) process, where chance and dialogue shape meaning as much as intention.

Diagonale des Yeux is a singular project — equally strange and irresistibly pop-leaning. Music like weeds pushing through pavement cracks and, against all odds, turning into flowers.

‘Under The Sun’ is the new album from The Wanton Bishops, a band by every definition of the word, but primarily the vision of one eclectic man – Nader Mansour. The album is an exploration of identity and ultimately a love letter to his hometown Beirut, capturing Nader’s kaleidoscopic life journey through a melting pot of musical influence; primarily gutsy blues-rock but with tinges of psychedelia, surf-rock, dance, as well as the Lebanese influences of Nadar’s hometown. “It’s Lebanese Rock”, adds Nader, “a new genre, a blueprint for future music. It’s not fusion, it’s confusion, it’s not world music, it’s rock music from the world, for the world”.

Following the release of The Wanton Bishops’ debut album ‘Sleep With The Lights On’, a Delta blues record inspired by the likes of RL Burnside and Muddy Waters, Nader journeyed to America’s deep south to experience the roots of Mississippi blues. The experience spawned a musical epiphany for Nader, as he returned home to Lebanon a changed man with a newly inspired musical vision. Nader’s music slowly emerged from the Delta swamps into the Lebanese mountains, and the music of The Wanton Bishops began to reflect Nader’s homeland, his people, and his personal journey. To quote Nader, "I’m finally getting to the core of the music I want to create, and that core is scarily confused, yet uniquely special, much like our own identity as Lebanese people living in Beirut, that eternal cultural crossroad."