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Ten years ago, Norrköping's own Skraeckoedlan released their second full-length album, Sagor (Fairy Tale/Stories). Spring 2026 marks its 10th anniversary, and the band is celebrating with a newly remastered edition along with a special tour that once again invites listeners back into their myth-filled universe. Rooted in the Riff-driven heaviness of stoner rock and the storytelling spirit of progressive rock, Skraeckoedlan craft sonic worlds where myths, cosmic beings, and the forces of nature feel as alive as the guitars driving them. Back in 2015, they released the concept album Sagor, weaving together their love of grand narratives with their massive, immersive sound - a musical journey through Nordic legends, timeless natural mysticism, and entirely original realms. It became a landmark release, firmly establishing Skraeckoedlan as one of Sweden's most ambitious and imaginative heavy bands. Today, they stand as one of the Nordic region's most distinctive and celebrated fuzz acts-musicians who don't just write songs, but entire stories. In 2026, the band will take Sagor back on the road, celebrating another major milestone together with their fans! But wait, there's more from our friends in Skraeckoedlan..!

4/5 Mojo review: ‘Sparse, hypnotic big-room techno that builds from the bass drum up

Double LP is released on 140gm black vinyl in a transparent gloss foil sleeve, artwork and design by Ian Anderson for Designers Republic. Circuitry Electronic launches with a release that stands as a statement of intent - an artist with few true peers within English electronic music, with an album that jumps out of the speakers and slaps you around the chops. G-Man is Gez Varley - one half of Sheffield pioneers LFO, and thirty years into his solo career, with his first vinyl album release since Avanti on Force Inc way back in 2002. Speaking to DJ magazine in 2014 Gez recalled his early days working with Mark Bell as LFO: “We were influenced by groups like 808 State. Unique 3, Nightmares On Wax and also stuff like Kraftwerk, Detroit techno and early electro. So when we first hooked up and made tunes together we just wanted to rock the dancefloor at our local club The Warehouse”.

Their eponymous track ‘LFO’ – a classic of the bleep and bass techno movement – was one of the first releases on the Warp label, gate- crashing the UK’s Top 20 whilst annoying Simon Mayo along the way. Having worked with the likes of Richie Hawtin, Karl Bartos, Laurent Garnier, Art of Noise, Radiohead, YMO and Alan Wilder, in addition to the LFO output, you'd expect Gez to know his way around a techno dancefloor rhythm and drum pattern, and this is an inventive funk-filled journey that never veers too far into experimental territory yet avoids the cliches and generic tropes that too often lose the listener when techno manifests in album form.

DOODSESKADER clearly haven’t had enough of redefining boundaries – they’ve only just gotten started. Tim De Gieter and Sigfried Burroughs return on April 3rd, 2026 with their third full-length album, The Change Is Me, a rollercoaster that can only be described as the unstable lovechild between witch house, hip-hop, industrial dream pop, and stadium rock that can’t decide if it wants to watch the world burn or shout from the rooftops that we need to save it. Their combination of grungy 90s melodies with distorted synths, sludgy bass, hard tuned vocals, rapping, singing, and explosions of undiluted rage at the current state of the world leave you wondering just exactly what it was you smoked last night, and if it was too much or not enough. The Change Is Me is an album that grabs you by the arm and asks if you’re ready to go on a grand adventure, then pulls you into its chaos before you can say “yes” or “no.”

Tim and Sigfried aren’t just breaking the boundaries between genres; they’re breaking out of their own Year cycle, a path they had laid out for themselves at the band’s inception in 2020. Up until now, the duo had set out to document their “journey to getting better” through writing one album each year: Year Zero (2020), Year One (2022), and most recently Year Two (2024). After spending eight months throughout 2024 and 2025 writing, recording, producing and mixing Year Three, the band scrapped the finished record entirely. Playing shows while simultaneously navigating the process of mixing Year Three created a sort of disconnect – the people that they were when they wrote that record and the people that playing shows made them become were no longer one and the same. “We’re people with faults and strengths, and we realized we needed to accept it. That’s equal parts bleak and liberating. If you’re so focused on self-improvement, you can’t even applaud yourself for how far you’ve come,” the band explains. “This project is meant to be a document of us and of the human condition, not a self-improvement handbook designed to keep us all stuck on what may or may not have happened to us or because of us in the past.”

DOODSESKADER chose instead to embark anew on a week-long creative journey in Tim’s own Much Luv Studio with one goal in mind: to make an album that captures who they are right now. Finally writing everything together in the same room for the first time in years, the process of bringing "The Change Is Me" to life was captured by Diana Lungu in their latest documentary, "Now I Know You See Me", out December 2nd, 2025.

"The Change Is Me" marks the beginning of DOODSESKADER’s shift into a more positive era, both musically and conceptually. Over the course of the 40-minute record we hear the two friends unite in a fight against a world that grows more and more disappointing, a concept made crystal clear in tracks like “Celebrity Culture Simp Farm,” “It Keeps On Stinging,” and of course the album’s epic closer “Suffering In Technicolor.” While their previous albums saw them trying to outrun their pasts and arrive at a better version of themselves, here the search for some external or internal revelation that will “make them better” is no more. It’s been replaced by the realization that change isn’t something we force: it’s gradual, and more importantly, it’s something that’s already there – we just need to reach out and accept it.

The band’s live appearances over the last several years have been instrumental in shaping their ideology. On stage is where the duo find connection; not only with the audience, but also with each other. Their sold-out release shows at Ancienne Belgique (2022) and VierNulVier (2024) have proven that they are one of Belgium’s must-see acts. Abroad, their energy has translated into a month-long EU/UK tour with French band Alcest in 2024, as well as appearances at festivals such as Roadburn Festival (NL), Eurosonic (NL), Hellfest (FR), Mystic Fest (PL), Jera On Air (NL), ArcTanGent (UK), Fluff Fest (CZ) and more.

"The Change Is Me" is out April 3rd, 2026 on DOODSESKADER’s own label, 45 Records.

1 Umbrella represents a watershed moment for modern Bay Area hip-hop, effectively serving as the region’s "Avengers" assembly designed to consolidate the Northern California sound. For years, the local scene has been bisected by the distinct "mob music" bounce of Oakland and the melodic, trauma-drenched "pain music" of San Francisco; this collective is the first major commercial force to deliberately fuse these competing energies into a single, dominant infrastructure. The roster is a calculated cross-Bay alliance that balances opposing sonic weights: Lil Bean and Lil Yee anchor the group with the emotive, auto-tune-heavy melodies that define the current SF landscape, while Zaybang cuts through that introspection with his signature high-octane aggression.

Balancing the scales are ALLBLACK and 22nd Jim, who inject the classic East Bay attitude—ALLBLACK delivering the motivational, sports-heavy "player" lineage of the region, contrasted against Jim’s nonchalant, rhythmic flow. Backed by the powerhouse infrastructure of EMPIRE and united under tracks like "Baller Blockin" and the unification anthem "The Blueprint," the group is attempting to solve the fragmentation that has historically plagued the Bay’s independent market. By synchronizing their movement with the arrival of Super Bowl LX, 1 Umbrella is positioning itself not merely as a rap group, but as the official cultural ambassadors for the region, betting that a unified front can finally command the national spotlight that often eludes the West Coast’s independent giants.

Hagridden' is the second full-length from Scottish sisters Bratakus. Fiercely political and unapologetic, the duo made up of siblings Brèagha Cuinn (guitar and vocals) and Onnagh Cuinn (bass and vocals) deliver ten songs that combine garage rock and feminist punk with the same deft poise as forerunners The Distillers, The Donnas, Bikini Kill and X-Ray Spex.
In 2019, a BBC news report called Bratakus "the UK's most remote punk band". Formed in 2015 outside a small whiskey village called Tomintoul in the Scottish Highlands, the sisters (then 14 and 8 years old) have maintained a DIY ethos in everything they've done. Recording at home, self-releasing music, booking their own tours and with no drummer available locally, the duo turned their limitation into a statement, performing live with a drum machine and cementing their reputation as an uncompromising force within the punk scene.
'Hagridden' marks a new beginning for the two sisters, introducing real drums to the recording process (including a guest appearance from Chris Dangerous of Swedish rock band The Hives) plus a more focused approach to songwriting. The message and music are just as loud, but the execution is now deadlier than ever.

INDUSTRIAS MEKANIKAS is back with the third instalment of the ANTIKHRIST VISIONS saga. This release is particularly symbolic: it’s the ninth in the catalogue, marked by the infernal numerology that runs right through the whole series. It’s a descent into a sonic underworld, where noise becomes ritual and pleasure is just pure agony.

The artist tasked with opening this new chapter of the saga is the mighty Óscar Mulero, an essential figure on the national electronic scene and one of our biggest international ambassadors, whose career has left a deep mark on contemporary music. Here, with Faceless, he delves into dark, precise, and devastating electro territory; a spiritual machine that dictates the pulse of chaos.

Next up, we’ve got Pressurized Modulator with Reddrum: hard, crunchy, industrial electro, absolutely buzzing with electrical tension and twisted sonic matter.
Closing out the A-side is Jacko Volvone (aka Hoax Believers) with Quieren Cerrar Las Fábricas: a track that expertly blends electro, techno, and post-punk echoes, resulting in a tense, distorted, and combative sound, like a working-class echo shouting from the abyss.

Flipping over, the B-side opens with Hanging Nuts (made up of Waje Martín, Fake Robotik, and Ruben Montesco). They unleash a murky descent of filthy, distorted, primal electro, slashed through with guitars and raw, guttural vocals: a genuine chant from beyond the grave. The second cut marks the debut of Techselektah & Phil Fork with Champagne No Potable: a raging street anthem packed with fury, energy, and social criticism, where Spanish vocals emerge amidst EBM structures that have that ‘80s spirit, reinterpreted with today’s raw edge. And the big finish is down to HBK1 alongside Rigor Mortis, with Instinto Caníbal: a full-on explosion of electro-industrial and EBM that awakens the body’s most primitive urges.

Antikhrist Visions Vol. III is a sonic summoning from the lands of Hades: ritualistic matter, organic sound, and primal force. A testament to pleasure and torment—Tormento do Gostar—etched into the vinyl as if it were molten iron.

Memento Mori.

EXODUS resurge at full force with their 12th studio album and Napalm Records debut, Goliath, out March 20, 2026! The top-charting band reinforces their eternal foothold at the top of thrash metal's hierarchy with 10 of their most diverse, anthemic tracks so far. Goliath marks the return of legendary singer Rob Dukes to the band. Produced, mixed and mastered by Mark Lewis (Whitechapel, Nile, Undeath), Goliath beams with the explosive authenticity that has set EXODUS eons apart from their peers since the release of their groundbreaking 1985 debut, Bonded By Blood.

With Figures of Glass (Piano Etudes – Edits), Vanessa Wagner offers a new listening perspective on Philip Glass’s Piano Études, shaping a curated selection of edited versions drawn from her acclaimed recording of the complete cycle. These edits do not alter the substance of the works; rather, they refine their temporal focus, revealing their emotional force with renewed clarity.

Conceived in parallel with Figures of Glass, a hybrid project developed with visual arts collective Scale, the release extends a dialogue between piano and light, sound and space. Between piano and light, Vanessa Wagner interprets Glass’s Études at the heart of a scenographic installation, exploring the visual imagination embedded in the composer’s music. Minimal structures become spatial gestures; repetition opens onto perception, colour, and resonance. Taken together, these edits form a coherent arc through Glass’s language: from tension and propulsion to suspension and introspection, from rhythmic urgency to contemplative stillness. Wagner’s approach is marked by precision, restraint, and a deep attention to resonance, allowing each piece to unfold with an assumed expressive sobriety.

Figures of Glass also exists as a live creation, presented for the first time in Paris at the Théâtre du Châtelet on April 7, 2026. In both recorded and staged forms, the project invites contemporary listening contexts — from focused headphone listening to immersive visual environments — while reaffirming the Piano Études as a major landmark of 21st-century repertoire. Bridging modern classical piano, minimalist writing, and spatial listening formats, Figures of Glass (Piano Etudes – Edits) speaks equally to traditional classical audiences and new listeners discovering Philip Glass through curated, editorial-driven experiences.

REVNOIR is one of the most exciting new forces to emerge in the rock and metal world. Officially unveiled in September 2023, the project has been quietly evolving behind the scenes for nearly two years, led by the talented trio Maxime Rodriguez-Medallo, Julien Ho-Tong, and Kaz Nakazawa. Blending elements of modern rock, crushing metal, and dark electro, REVNOIR crafts a powerful, melodic sound that resonates with both emotional depth and cinematic intensity. Since their formation, the band has made impressive waves—already surpassing 1 million Spotify streams across their four latest singles and building a loyal listenership with over 70,000 unique monthly listeners on the platform.

Their explosive live energy was on full display when they joined Future Palace on a European tour and later proved their rising star status with a sold-out headline show at La Maroquinerie in Paris (550 capacity) in April 2025. Now signed to Arising Empire, REVNOIR are gearing up for their next big chapter: supporting Coldrain on their massive UK/EU headline tour this winter. Spanning 17 dates across 10 countries, including major stops in the UK, Germany, France, Netherlands, and more, the tour marks Coldrain’s first European run in over four years and is set to draw thousands of fans each night. As main support on every date, REVNOIR will be performing in some of the biggest venues of their career so far—introducing their sound to a whole new wave of international listeners and firmly cementing their place among the most promising heavy acts of this new generation.

Vintage Pleasure Boutique once again dives deep into the vast catalogue of super-productions by Roberto Zanetti, better known as Robyx and Savage. This time, the journey takes us back to 1984, unearthing a true gem created at the suggestion of Marco Bresciani, Italian DJ and producer, and the same creative force involved with Radiorama. Zanetti delivered flawlessly. He transformed the elegant, high-grade British synth-pop original by OMD into a first-class Italo disco weapon, infused with that unmistakable sweet, melodic touch and fat kick that blended perfectly in clubs alongside genre-defining tracks of the era. “Souvenir” by Saxophone quickly became a classic, a staple of the sound and a cornerstone in countless old-school DJ record bags.

Today, original copies are scarce, highly sought after, and often prohibitively expensive on the secondary market. This reissue is both a tribute to long-time fans of the record and a nod to devotees of Robyx’s unmistakable sound. The vinyl also features a special remix of “Souvenir”, sonically aligned with Savage classics such as “Radio,” “Fugitive,” “Only You,” and “Don’t Cry Tonight.”

A true feast for lovers of this timeless Italo disco aesthetic, equal parts nostalgia, elegance and dancefloor power.

Stef Heeren, driving force of Belgian band Kiss the Anus of a Black Cat, is embarking on a special reunion concert series with his original folk ensemble to celebrate the 15th anniversary of the band’s acclaimed album, Hewers of Wood and Drawers of Water. Arguably their finest work in their discography, the album was the pinnacle of the band's folk-oriented sound, after which they tapped into more electronic territories.

The initial vinyl pressing (and cd) of Hewers of Wood and Drawers of Water, released in 2011, has long been sold out and now fetches excessive prices on the secondhand market. To mark this milestone, the album will be reissued in early 2026 as a limited-edition vinyl on KTAOABC’s own imprint, Kattengat.
With this re-release on the horizon, Kiss the Anus of a Black Cat is eager to hit the road once more, revisiting their folk roots and performing the songs that defined their earlier years. The concerts will not only celebrate the album Hewers of Wood and Drawers of Water, but also offer a chance to explore the full spectrum of the band's career, from their folk beginnings to their more modern, electronic explorations.

Happy anniversary!

Celebrating his Bleep Album of the Year ‘The Eternal Present’, Mark Van Hoen rounds out a prolific 2025 with further goodies as he joins forces with Clark for a club focussed 7” split release of vinyl only material.
‘Needles’ is an assuredly buzzing, thumping, murky dancefloor cut, with turbulent scribbling frequency shifts adding extra heft to the bristling bass thuds. Following his own triumphant return to rave modes with his latest album Steep Stims, Clark delivers the frenetic ‘Poland RYTM (Live Take 2023 Mix)’, constantly morphing with sharp, snapping sounds, and a curious blend between acid squelch and chiptune beep melodies.
“From gently weaving melody to gale force rips and tears, The Eternal Present shows Mark Van Hoen at all angles of his sonic practice”.
White label with a postcard

Temple Balls, the high-octane hard rock band from Finland, is back with a brand-new self-titled album. Over the past few years, the band has kept busy both in the studio and on the road, solidifying their reputation as one of the most exciting live acts in the genre. Having opened for legendary acts such as Sonata Arctica, Queen, Deep Purple, and Uriah Heep, Temple Balls have proven they can command any stage—whether it’s a massive festival or an intimate club. Their live shows are explosive, turning skeptics into die-hard fans with their raw energy and undeniable charisma. The journey began with their official debut single, “Hell and Feelin’ Fine,” released in September 2016, which gained heavy rotation on Finnish Radio Rock. Their debut album, recorded in May 2016 at Karma Sound Studios in Thailand, was released on February 24, 2017. Produced by Tobias Lindell (Europe, Mustasch, H.E.A.T.), the album marked the band’s bold entrance into the international rock scene. In the fall of 2017, Temple Balls embarked on a sold-out Finnish tour with Battle Beast, made their live debut in Japan, and completed a five-day tour across Ukraine. Their popularity soared in Japan, where readers of the country’s biggest rock magazine Burrn! voted them the “Second Brightest Hope,” and they were named “Newcomer of the Year” on Masa Ito’s Rock TV. Their sophomore effort, Untamed, released on March 8, 2019, received rave reviews from major music outlets including Soundi and Burrn!. A European tour alongside Sonata Arctica further cemented their reputation as a world-class live band. Their third album, Pyromide, marked their debut with Frontiers Records and was a melodic hard rock tour de force produced by Jona Tee (H.E.A.T.), packed with powerful riffs, massive hooks, and arena-sized choruses. In May 2022, Temple Balls toured Europe with Swedish melodic metal giants H.E.A.T., followed by a busy summer festival season across Finland. The lead single from their fourth album, Strike Like a Cobra, was released in March 2022 to widespread acclaim. That same year, they completed work on their next full-length, Avalanche, released in fall 2023, featuring the single “No Reason,” which dropped globally on June 22. Now, with their new self-titled album, Temple Balls continue the sonic evolution started with Avalanche, delivering an even more personal and refined sound.

SACRED COWBOYS are a moody hard rock band with a dry sense of humor. They started playing in murky Melbourne dive bars in 1982 attracting a rabid following. With the release of their iconic first single, Nothing Grows in Texas, they were catapulted to national TV notoriety on Countdown, Australia's version of Top of the Pops. 2025 saw founders Garry Gray and Mark Ferrie enlist Timothy Deane, Anthony Paine, and Damian Fitzgerald. You will soon be holding in your hands the new album, 'In the Manifesto.' 'In the Manifesto' was mastered by Mikey Young, who worked on the last six Mark Lanegan records and plays in Eddie Current Suppression Ring. All new songs are written by Garry and the band. 'In the Manifesto' shows the Sacred Cowboys do not indulge in one musical style. It's a complex, atmospheric soundtrack with Gray's uber cool delivery over sometimes sparse, sometimes weaving guitars and rich harmonies. Channeling a Sonic Youth ethos and grinding the gears in the engine room of the Cosmos Factory, 'In the Manifesto' is as wide and expansive as the Australian desert skies. Radio 3CR's Paul 'Dr Gonzo' Elliott got a sneak preview and says. "Garry Gray returns with Sacred Cowboys and a brand-new album . a 12-track tour de force titled, 'In the Manifesto'. The Sacred Cowboys have performed intense live shows and transported that energy and mood onto this new album, 'In the Manifesto.' It is all killer and a tour de force. Garnering the attention of Andrew McGee at Torn & Frayed Records, Australia and combining with French allies Seb Blanchais and Romain Michon at BEAST Records, France, the rest is about to become history.

With her highly anticipated CiCi (Deluxe) album, Grammy Award-winning icon Ciara steps fully into her power; reclaiming her narrative with clarity, confidence, and the most dynamic soundscape of her career. A celebration of freedom, femininity, and evolution, CiCi is more than a return — it’s a full-on reinvention.

The Deluxe Edition expands her sonic universe even further — introducing four new songs that fuse sensuality, rhythm, and empowerment with global influences—featuring standout singles like the globally acclaimed “Low” (with Diamond Platnumz), “Ecstasy” (featuring Normani & Teyana Taylor), “How We Roll” (with Chris Brown), amongst other hits, the project seamlessly blends Ciara’s R&B and pop legacy with futuristic production, cross-continental energy, and unfiltered storytelling. Among them, “Low” stands as a defining moment — an electrifying fusion of Afrobeats and R&B that bridges Atlanta and East Africa in one hypnotic groove. The visual, rich with dance-floor heat and unapologetic sensuality, showcases Ciara’s signature choreography and global reach, earning millions of views and sparking an international dance challenge.

For over two decades, Ciara has defined what it means to be a cultural force — from trendsetting choreography to genre-shaping hits. With CiCi (Deluxe), she bridges generations, reignites her core, and welcomes a new wave of fans into her world. It’s bold. It’s intimate. It’s CiCi. Behind the scenes, CiCi also marks a powerful chapter in Ciara’s entrepreneurial journey. Through her self-founded, female-led Beauty Marks Entertainment, Ciara has created a home for her music, media, film, fashion, tech, and philanthropic ventures. BME empowers her to own her narrative, lead with vision, and build legacy — on her terms.

Two of the most respected voices in the underground connect for a heavyweight collaboration that's been a long time coming — BULLETPROOF CHICKEN is out now!

CRIMEAPPLE, the bilingual New Jersey spitter known for razor-sharp wordplay and a steady run of cult-favorite projects like Aguardiente and his collaborations with DJ Muggs, cementing his spot as a force in modern hip-hop.

On the boards, V DON has become a staple for his signature dark, cinematic production style. From Harlem to the world, he’s laced tracks for the likes of Boldy James, Estee Nack, A$AP Rocky, Dave East, Benny The Butcher among several otehrs, while also building his own lane with the underground classics like Omerta and his Deutsche Marks and Blue Note series with Willie The Kid. His beats balance grit and atmosphere, making him one of the most sought-after producers in the underground and beyond.

With BULLETPROOF CHICKEN, the two bring their worlds together — sharp rhymes, moody textures, and guest appearances from T.F, Bruiser Wolf, and Primo Profit only add more weight. This album is a testament to where both artists are right now, rising higher with every drop, carrying the underground to new levels.

London-via-Accra artist BLACK FONDU shares his seven-track debut EP ‘BLACKFONDUISM’, following the underground momentum of singles ‘im not sleeping’ and the Steve Lamacq BBC 6 Music-premiered ‘holla back girl’. Available on vinyl, and with a self-directed video for ‘#music’, the project marks the first full expression of a voice emerging as one of the UK’s most uncompromising new forces.

‘BLACKFONDUISM’ captures that evolution in its rawest form. The EP came together quickly through instinct and freestyling, recorded between his room in London and a short period in Paris. Each track reflects a world he understood only after living through it. ‘IN D4 CLUB’ channels the exhilaration of acceleration, ‘BOYS’ explores the foundation provided by maternal love, ‘im not sleeping’ confronts denial after more than twenty revisions, ‘C00N V2’ marks a moment of creative rebirth, and ‘BLACK1E’ navigates the tension between self-perception and the world’s gaze. Closing track ‘#music’ distills the entire project into one statement.

Working alone has brought challenges, but he has learned to trust the emotional volatility that fuels the work. “I care so much and would die for this, but I cannot let it kill me. I have to trust myself the same way I trust myself when I make music.”

At 21, BLACK FONDU has carved out a sound that collides hyperpop, noise, rap, punk energy and abstract grime into something instinctive and volatile. Influenced by everything from Rachmaninoff to MF DOOM to Xiu Xiu, he writes, produces and performs every element, including the fractured visuals that accompany his tracks. Praise from BBC 6 Music, Pitchfork, NME, The Quietus, Pigeons & Planes, METAL and Line of Best Fit has positioned him as one of the most intriguing new voices in the UK underground, with explosive live shows across London, the UK and Europe.

With BLACKFONDUISM, he introduces a universe that refuses to sit still. “I wanted this EP to act as an introduction to my worlds. It felt important to put this out so I can do anything after.” He hopes listeners feel alive when they hear it, and jokes that he wants the record to “evolve music, even just a little.”

BLACK FONDU’s sound remains a paradox, abrasive and fragile, chaotic and meticulous, always guided by instinct. Or, as he puts it, “A bit fucked. But alive.”

Liverpool-born, Glasgow-based electronic artist KAVARI announces PLAGUE MUSIC, her debut EP for XL Recordings. Having earned early and enduring support from Aphex Twin, Ethel Cain, Ninajirachi, Flume, and Yeule, the EP marks KAVARI’s most focused and uncompromising body of work to date; a release that sharpens her sonic signature, deepens her world building, and signals her arrival on XL with clarity and intent.

Building on the foundations of her 2022 EP Suture, PLAGUE MUSIC pushes further into darker, more uncompromising territory. Drawing from drum & bass, dubstep, and noise, the EP imagines a world in decay, reflecting a sense of global instability and emotional unease. KAVARI deliberately sidesteps EDM conventions, emphasising the genre’s intensity and impact while stripping away any sense of escapist lightness. Across the four tracks, sound design becomes a narrative tool: traces of human presence - breath, movement, and spatial textures - collide with abrasive electronic elements that blur the line between rhythm and experimental.

With PLAGUE MUSIC, KAVARI announces herself as a bold, visionary force in electronic music, pushing the boundaries of genre while creating work that is as emotionally gripping as it is physically powerful

M-Plant's 2026 schedule starts as it means to go on with a blistering, adrenaline-charged Techno EP from the minimal master, Robert Hood.

Robert Hood's minimalist approach helped define Techno's evolution in the early 1990s, as he's continued to push a stripped-down, hypnotic sound. His solo work, marked by precise drum programming and deep grooves, has become hugely influential across modern Techno. While he continues to innovate through projects like Floorplan (with daughter, Lyric) here he returns to his roots on the "Soul Sonic Force EP".

From A-side opener "Insurrection" that blends a tough peak-time Techno sound with sweeping strings, to the reverberating tonal "Black Ops". Then flip to the AA-side for the relentless pared down groove of "Soul Protector", before "Warfare" with its layered precision. This is classic Hood in action; unparalleled.

Through crushing riffs and haunting vocals, it reflects on loss, the forces of nature, and existential struggle. The production balances raw intensity with a deep, immersive atmosphere, enhancing the album's emotional depth. The album opens with a song in Latin, setting the tone with a ritualistic invocation. As its title suggests, it serves as a reminder to preserve one's inner purity in a decaying world, weaving ancient echoes into the album's foundation.

Todeslied follows as a hymn to death, carrying a solemn mood. The record also draws upon literary inspirations: one track is based on The Road by Cormac McCarthy, evoking apocalyptic desolation and the desperate fight for survival, while Dress in flames gives voice to the fury and imprisonment of Bertha Mason, the tormented character in Charlotte Bronte's victorian novel Jane Eyre. Compared to her previous release, which was more personal, Moonstone marks a shift towards greater collaboration within the band, with a more unified approach to songwriting and arrangements. The album, featuring two tracks by bassist Francesca Papi, has been arranged and refined together with Davide Rosa (guitar) and Fabio Orticoni (drums). The release also includes a powerful tribute to Bathory with a reinterpretation of Shores in Flames.

Recorded at Produzione Rumorose, mixed by Maurizio Baggio, and mastered by Giovanni Versari, this record represents a powerful evolution in the band's sound, sharpening their identity and pushing the boundaries of their musical expression.

Through crushing riffs and haunting vocals, it reflects on loss, the forces of nature, and existential struggle. The production balances raw intensity with a deep, immersive atmosphere, enhancing the album's emotional depth. The album opens with a song in Latin, setting the tone with a ritualistic invocation. As its title suggests, it serves as a reminder to preserve one's inner purity in a decaying world, weaving ancient echoes into the album's foundation.

Todeslied follows as a hymn to death, carrying a solemn mood. The record also draws upon literary inspirations: one track is based on The Road by Cormac McCarthy, evoking apocalyptic desolation and the desperate fight for survival, while Dress in flames gives voice to the fury and imprisonment of Bertha Mason, the tormented character in Charlotte Bronte's victorian novel Jane Eyre. Compared to her previous release, which was more personal, Moonstone marks a shift towards greater collaboration within the band, with a more unified approach to songwriting and arrangements. The album, featuring two tracks by bassist Francesca Papi, has been arranged and refined together with Davide Rosa (guitar) and Fabio Orticoni (drums). The release also includes a powerful tribute to Bathory with a reinterpretation of Shores in Flames.

Recorded at Produzione Rumorose, mixed by Maurizio Baggio, and mastered by Giovanni Versari, this record represents a powerful evolution in the band's sound, sharpening their identity and pushing the boundaries of their musical expression.

From the visionary minds of Snarky Puppy’s Robert “Sput” Searight and Nate Werth, Ghost-Note’s explosive debut "Fortified" finally arrives on vinyl. This percussive tour de force seamlessly fuses funk, hip-hop, jazz and world rhythms into a captivating journey of rhythm and groove.
Featuring an all-star lineup of iconic players—including Shaun Martin, Mark Lettieri, and the legendary MonoNeon—this album is packed with tight grooves, deep tribal pulses, searing horn lines, and fearless synth wizardry.
More than just an album, Ghost-Note’s debut "Fortified" bridges classic funk traditions with cutting-edge jazz innovation. It’s a celebration of rhythm, culture, and community. Whether you drop the needle to ignite the dance floor or to get lost in its rich, layered textures, this LP is destined to become a crate-digger’s gem and a cornerstone for fans of modern funk-jazz.

DJ Support: Mousse T, Mr V, Quentin Harris, Mark Knight, Claptone, Severino, Roger Sanchez, Moplen, David Morales, Kenny Carpenter and Terry Farley

So Sure presents – Tedd Patterson: Pieces Of Me EP
A1. “Let The Music Set You Free” (feat. Manchild Black & Monster Black)
Tedd Patterson joins forces with Manchild Black and Monster Black to deliver a vibrant, uplifting slice of NYC dancefloor energy. “Let The Music Set You Free” puts a fresh spin on The Illustrious Blacks’ signature message of joy and empowerment.
Patterson’s trademark production—tight, driving beats, bright synths, and peak-time club pressure—creates the perfect foundation for The Illustrious Blacks’ playful, feel-good, and exuberant vocals. Their dynamic presence shines throughout, bringing color and vitality to a track crafted for uplifting moments and late-night release.
A standout A-side full of personality, positivity, and true NYC spirit.

B1. “Piece Of Me” (feat. Inaya Day)
“Piece Of Me” is a high-energy, funk-infused dancefloor bomb featuring a sublime, hook-laden vocal from the legendary Inaya Day. Expertly produced and perfectly executed, this track hits that sweet spot between soulful house and classic club firepower, with Inaya’s unmistakable presence elevating it into instant-favourite territory.

B2. “Do It Again” (feat. Joi Cardwell)
Fresh from collaborations with Inaya Day and The Illustrious Blacks, Tedd Patterson returns with another heartfelt slice of soulful NYC house. “Do It Again,” featuring the unmistakable voice of Joi Cardwell, is vocal house at its purest—authentic, emotive, and stamped with Patterson’s bonafide New York pedigree.
If you like your house music infused with feeling, warmth, and groove, “Do It Again” delivers in full.

On »Empty Room,« David Granström works with slow transformations, cyclical and isometric patterns as well as just intonation as a way to create harmonic stability, allowing his long-form pieces to develop their own unique temporal and spatial qualities. A prolific figure in Stockholm’s experimental drone scene and a collaborator of Hallow Ground label mates Maria W Horn and Mats Erlandsson, the Swedish composer navigates through moments of quietude and crushing volume on these five tracks. Sonically and atmospherically, the pieces on »Empty Room« simultaneously call to mind Fennesz’s most meditative work or the physical experience of seeing Sunn O))) live, blending guitar recordings and synthesised sounds with forceful effects similar to those of Mario Díaz de Leon’s Oneirogen project while still being as moving and delicate as Alessandro Cortini’s solo work. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology.

Having been invited by the self-organising artist group The Non Existent Center for a residency to Ställbergs Gruva, a defunct iron ore mine in Sweden’s Bergslagen region, Granström took his guitar as a starting point for his compositional work that heavily relies on real-time sound synthesis. »I seldomly use the instrument as a sound source in the final compositions and rather transcribe and orchestrate the harmonic structures using sound synthesis,« he explains. »On this album however, I chose to include the actual recordings of the guitar in order to extend the spectra between non-referential synthetic sounds and embodied referential sounds.« Working with precise tunings in order to blend the timbre of the synthesis with the harmonic structures of the composition, he created composite sound objects in which the harmonic elements blend into each other.

Through the re-amplification of synthetic musical materials from the inside of the abandoned mine, his original compositions were enriched with site-specific sound qualities before he further refined them in a singular working process. Granström works with algorithmic and generative processes, using the SuperCollider programming environment and thus blurring the lines between generative and creative forms of composition. »One of the things that I like about this way of working is that it creates a distance between myself as a composer and myself as a listener of the music that is produced entirely by the system,« he says. Granström’s technologically aided eschewing of the conventions of composing doesn’t make the end result any less personal, however. By listening again and again to the newly generated output, Granström simply took on a different role in the process of finalising the music, with the technology and the sounds becoming his co-authors.

By creating systems that generate music, he gains a new perspective on (musical) time, says Granström. »There doesn't have to be a fixed length to the music at all,« he explains. »And by writing music with this in mind, my focus tends to shift towards writing cyclical structures that gradually change and transform over time.« Simple parts, in other words, that emerge as the five complex wholes that form »Empty Room,« a record that itself seems to take on different forms with every new listen.

For over six decades, Charlemagne Palestine (b. 1947, New York) has been a pioneering composer, performer, and multimedia artist, celebrated for his ecstatic sonic explorations and ritualistic, metaphysical performances. Emerging from the cross-disciplinary New York art scene of the 1960s and ’70s, he helped shape a heretical edge of minimalism alongside figures like Conrad, Riley, Niblock, and Glass. Trained as a Jewish cantor and later as the carillonneur at St. Thomas Church, Palestine cultivated a deep fascination with resonance and overtone—an obsession that evolved through his use of percussion, early synthesizers, and monumental piano works, influencing artists from John Cale to Nick Cave.

Animated by a spirit of ecstatic play and what he calls his »meschugge« (Yiddish for »crazy«) sensibility, Palestine’s universe blends the sacred and the absurd, filled with soft toys, ritual gestures, and immersive sound environments. Rejecting the »minimalist« label in favor of a maximalist, »spontanimalist« approach, he creates long-form, resonant performances that transform spaces into vibrating, living organisms—opening portals into the nature of time, sound, and devotion.

In the same vein, the aptly titled live record »The Organ is the World’s Greatest Synthesizer« – performed during the Sonic Acts Festival at Amsterdam’s Oude Kerk in 2025, and taking its title and cover art from a drawing realized by Palestine himself during the concert – adds to his opaque yet vibrant personal mythology and intimate transcendence, marking a return to the Staalplaat catalog after »Fffroggssichorddd« (2020) and »Music for Big Ears« (2001).

Beginning with a resonating bell and his falsetto overtone singing, then surrendering to the endless, wild soundscapes of tone-feeling and beat frequencies generated by the church’s organ, across 40+ minutes, single sound sources evolve into clusters, entangle fully with one another, and establish their own spatial existence and aural architectures. We witness the traces of something that can be described as a perpetual performance, a test for the ever-changing interaction between artist, instrument, space and, ultimately, us.

Since Palestine has always defined his execution as a form of anti-composition - of simply »being in the music« as if inhabiting a space - the true power of »The Organ is the World’s Greatest Synthesizer« lies in encapsulating a moment of Palestine’s practice in its most authentic, live dimension. Sound becomes at once subtle substance and strange telluric force, animating physical forms from some unknown channel beyond and within, accessible only through our sensorium. The point in this liminal temple of tone, timbre and frequency is not to learn anything but to simply enter. Palestine earns once again his self-given title of contemporary shaman by keeping this sonic portal open, allowing us to witness and make it last.

»I have always felt and heard and mixed the sounds in my world as liquids not as solids. Sonic liquids are material that is endlessly transformable. But I’m not crazy about people who go around defining stuff.«

With Born From Chaos, DYMYTRY PARADOX make it clear: they are ready to claim their place among the leading forces of modern metal. Each of the nine tracks is a powerful statement on power, pride, and the destructive cycles that continue to shape our world. From driving anthems like “Red Sky Remains” and “War Beneath My Skin”, to the explosive single “Sun of a Broken God”, and epic moments like “Overmind”, the album combines crushing riffs, haunting vocals, and relentless intensity that immediately grabs the listener. DYMYTRY PARADOX demonstrate with every song their ambition to push boundaries and make a lasting mark on the scene. Born From Chaos is more than an album – it’s a declaration, a warning, and a statement: the time of DYMYTRY PARADOX has begun.

Hercules & Love Affair music has always been about folding past, present and future together – and never more so than in the latest phase, encapsulated by the track that launches things, “Someone Else is Calling.”

If the song-first, ultra-gothic mind-movie of the last H&LA album In Amber was partly motivated by Andy Butler falling out of love with dance culture, this new body of work – an EP titled Someone Else Is Calling – is an unabashed resurgence of the love affair. A co-production with London underground veteran and inspiration to Butler, Quinn Whalley of Paranoid London and Decius, the lead single is a surging, tactile acid track woven around the vocal of Icelandic icon Hips & Lips aka Elín Ey – who hits that new wave disco sweet spot between Grace Jones and Yazoo era Alison Moyet.

Elín’s lyrics work perfectly with the bodily momentum of the sounds, circling around themes of self-possession and the urge to move on to the next experience, the next sensation: hunger for reality. And this taps into Andy’s feelings on escaping New York and moving to Belgium, discovering that dance culture was anything but the hollowed-out, identikit-festival-lineup conveyor belt he’d feared, and still had plenty of outposts where it was still – as he’d first experience it as a teen – about the hot, sweaty reality of diverse people seeking communion, communication and heightened ways of being in the here and now.

The video, filmed by Tatsumi Milori couldn’t be a better expression of exactly this. A love letter to the strange and glorious party scene of Mexico City, it captures people who are both tapping into the eternal verities of those magical dancefloor communions, and thrilling – against all the odds of oppressive forces – at the sense of possibility in the flow of gender and sexuality in the present moment. It’s powered by innocence and experience as intertwined forces, and it amplifies the heartbeat of the song a thousandfold. There will be more, much more, to follow from the partnership of Andy, Elín and Quinn. It digs deeper still into the decades of dance and other underground cultures that feed into this modern moment – but this shining beacon should give you a pretty good hint.

Someone Else Is Calling will arrive on one of Los Angeles’s most exciting new independent labels and creative hubs, StrataSonic, on December 14. The lead single of the same name, along with the music video directed by Tatsumi Milori, is out now. This marks the first collaboration between Hercules & Love Affair and Stratasonic.

Distant Lifeforms’ First Contact EP marks the launch of the new techno imprint by Lucinee and Lifka. As a split release, it includes two tracks by each artist, forming four trippy and forceful cuts that explore the outer edges of deep-space sound. With hypnotic rhythms, dense atmospheres and relentless drive, First Contact invites listeners on a journey beyond matter and mind - a bold introduction to the label’s sonic identity.

In March 2025, "On the Love Beach" completed a highly successful solo concert in Shanghai and Beijing with Toushi Naoki.

In 2025, marking the 30th anniversary of their memorable debut album, "On the Love Beach," the band's first three albums will be reissued on CD and vinyl!
All three albums use the original master tapes, and each has been thoroughly remastered under the supervision of Shinji Shibayama for high-quality sound!

This is Nagisa Nite's second album and only live recording, released in 1998. Featuring an acoustic arrangement featuring acoustic guitar and djembe,
the band's imaginary concept is "A Tyrannosaurus Rex from Osaka." This is a realistic documentary of a solo performance held in a dilapidated wooden
apartment building in Tokyo during a scorching heat wave in July 1997, a space that was barely a free space. The band performed in the scorching heat
of July, with the venue lacking air conditioning, forcing them to play with the windows open. This resulted in "ambient music" that occasionally blended with
the sounds of the outside world and the barking of dogs. The band's determination to never perform in a place like that again led them to believe that this
unique and intriguing experience was what made this album so unique.

The environment forced the band members and the audience to remain unwavering, creating an undeniable tension in the small venue, creating a literally
"hot" groove despite the entire performance being acoustic. This experiential live album, the polar opposite of the '71 Nippon Genya Festival, is impossible
to recreate, even for the band members themselves, including the immersive recording.

The 1998 album was only available on CD, but this time, the album is available on vinyl for the first time on a 2LP!
Remastered using the original master DAT tape, it recreates the "hot" and "ambient music" atmosphere even more realistically. T
akeda's cover of Midori Mako's "Yasashii Nipponjin" is also a must-listen!

Bringing together two distinct yet complementary forces in electronic music, Zohar and Nymfo join for their first collaborative release on Dekmantel.

Zohar’s sound is defined by razor-sharp precision and pulsating percussive energy storm-like sonics that disorient and excite in equal measure. With a background shaped by years of commanding dancefloors, she has carved a diverse and eclectic path, where rattling low-end and rhythmic tension form the foundation. Known for her technical refinement and mixing wizardry, Zohar intuitively seeks unexpected connections, always pushing her listeners into new territory. Following several contributions to Dekmantel compilations, this marks her first full-length release on the label.

Nymfo has been an essential figure in drum & bass since the late ’90s. Starting out in Eindhoven’s rave and jungle scene, he quickly became known for his fierce DJ sets and later, his productions. His catalogue spans acclaimed labels such as Metalheadz, 1985 Music, Commercial Suicide, Hospital Records, Critical, Dispatch, Shogun Audio, and many more. With two albums and a steady output of singles and EPs, Nymfo has consistently balanced raw dancefloor energy with a deep, refined production ethos.

Their paths crossed countless times in the scene, yet it wasn’t until Dekmantel invited them for a special Dekmantel Connects performance an ambitious setup with eight CDJs and four mixers that they shared the decks for the first time. The synergy of that moment carried into the studio, where their collaboration took shape. This release now returns them to the Dekmantel family, presenting their joint vision: a dialogue between low-end weight, rhythmic intricacy, and forward-thinking club sonics.

"Try" marks Dyzen's triumphant return to HABITAT. This reimagining of MAFRO & Qhairo's original vocals is a tour de force of emotional resonance and dancefloor impact, transforming the original into a soaring club weapon. With its captivating vocals and driving rhythm, "Try" has already ignited DJ sets from artists like Adriatique to Mind Against. Complemented by a remix from veteran producer Mano Le Tough, this release showcases Dyzen's evolving artistry and his knack for unforgettable melodies, solidifying the young Italian’s place among the genre's most promising innovators.

AF1268 is thrilled to welcome Nikol, the rising soundscaper from Manchester, for its third release. After making his mark on various outings for MASS, his own label, and O.C.D., this installment sees him deliver his first solo EP in full force. Across four meticulously crafted tracks, he chisels his own path through modern minimal and electro, honing his eerie yet hallucinatory sonic signature.

This EP unfolds like a spectral journey where Halloween meets tech-house—haunted by ghostly high-pitched whistlings, piercing acid stabs, and hypnotic rolling basslines. It conjures the image of a sweat-drenched, crumbling club cave under a rainy full moon, where bodies sway in slow motion, lost between dreamlike introspection and raw, unhinged grooves.

We Are The Robots Vol. 01 – Hypnotica Colectiva 25

Hypnotica Colectiva drops a fresh wax cut: We Are The Robots Vol. 01 — a heavyweight double vinyl release that channels the raw energy of the crew’s legendary club nights and distills 15 years of sonic exploration across electro, broken beats, and IDM textures.

Marking catalogue number HCR025, the Valencia-based imprint doubles down on its underground ethos, curating a ten-track lineup from artists deeply connected to the collective’s orbit. Each contributor brings a distinct flavor of robotic sound design.

Every track has been handpicked for its club impact, conceptual depth, and ability to resonate with the aesthetic of We Are The Robots — a party series that’s been pushing uncompromising electro since 2010. Expect a full-spectrum journey: from cerebral synth workouts to gritty analog pressure, industrial atmospheres, shadowy breaks, and raw minimalism.

Artwork come courtesy of Dani Requeni, keeping the HC Records design language sharp and functional. Steve Voidloss handles mastering duties, ensuring each groove hits with precision.

Mastered by Voidloss at Black Monolith Studio, London.
Artwork, Label art & Designs by Dani Requeni.
All rights reserved.
HC RECORDS
València, 2025.

BBE Music is proud to present the latest J Jazz Masterclass Series reissue, 1978 soul/jazz tour de force album ’Push’ by Noriko Miyamoto. For the first time, this critically acclaimed series that delves deep into the history of Japanese Jazz will be releasing an album by a Japanese female singer, Noriko Miyamoto produced by one of the legendary figures in Japanese Jazz, Isao Suzuki. The release of her incredible debut album, ‘Push’, coincided with a surge in popularity for local female jazz singers such Kimiko Kasai, Yasuko Agawa, etc. that crossed over into the pop market. It was originally released by the now-defunct label, Yupiteru Records in 1978. Since then, it has been reissued a few times in Japan but recently, along with a surge of worldwide interest in old Japanese music, ‘Push’ has been gaining a cult status among foreign music heads, with the price for an original pressing skyrocketing in the second hand record market. This reissue of ‘Push’ will be the first time ever that this album will be officially released worldwide. Long before R&B music went onto enjoy mainstream success in Japan, a soul music and disco loving lady, Noriko Miyamoto who started her music career working as a dancer at the legendary Tokyo disco, ‘Mugen’, was inspired by Tina Turner’s performance there and decided to became a soul singer. It was at a time in the early 1970s when there were only a handful of female songstresses who sang soulfully in Japan. In 1977, Miyamoto was scouted by Isao Suzuki to join his band, Soul Family and subsequently, with their backing, he produced Push, an album that kickstarted her career. It is an album that exquisitely combines her jazzy and soulful vocals with Suzuki’s acoustic bass and precocious playing from his youthful and vibrant group at the time. Along with Sadao Watanabe, Terumasa Hino, Masabumi Kikuchi and George Otsuka, bassist, cellist, multi-instrumentalist, composer, arranger, producer and band leader, Isao Suzuki was considered to be one of the most influential figures in Japanese jazz history. Beloved by many in the Japanese jazz scene as “Oma-san”- Suzuki was renowned for developing young talent.

With The Whole Story, their debut album released in 2024, Astral Bakers laid the foundations for a hushed soft-grunge, somewhere between misty folk and weightless rock. Vertical Life marks a turning point: a band that, after discovering itself, has now established itself as a tight-knit collective, with each member shaping its sonic identity with equal force. Recorded in the USA with Sam Evian (Big Thief, Blonde Redhead...), the album captures the freedom and raw energy of the quartet. There"s no over-recording or over-production here: the moment takes precedence, mistakes become texture, and slight imperfections a signature. Vertical Life is a choral album, a constant dialogue between the four musicians - Ambroise, Theodora, Nico and Zoé - where each now finds a more assertive place in this shifting puzzle, where voices cross and roles interchange. Textured guitars, sometimes silky, sometimes abrasive, criss- cross and overlap like wisps of delicate fuzz. Theodora"s bass anchors the tracks in a cinematic languor, while Zoé"s supple, restrained drumming builds a nocturnal, almost vaporous groove. The vocals, both fragile and assertive, are always balanced between whisper and soar, between indie introspection and grunge energy. A record where verticality is not just an upward movement, but a vertigo, a tension between rootedness and escape.

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythm-obsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro-Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity. Recorded over 2017-19 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo.

Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play. ‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy. Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves
and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace.

US Black Friday 2025 Release. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood LP does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance--and Moonblood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians--the line-up was ringleader Jim Beach--vocals; Don Swanson--lead guitar, Curt Swanson--drums, Victor Hemme--bass, and Robert Meinel--rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.”

Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously-- there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach’s vocals—as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach’s lyrics (though lines from The Doors’ “L’America” pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach’s own. Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit.

Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!” The other members contributions shouldn’t be underappreciated though-- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.” Which brings us to the Christian aspect--it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most---fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth—or perhaps as Beach himself best put it: “Speaking for myself, as a believer, it’s been a progressive experience since my childhood.

I think we’re all basically driven to live more than religion.” The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue, which also features for the first time on vinyl, 3 lost tracks-- like the more acoustic-minded “prisms” and “dawning light,” as well as the proto-metal choogle of “Intercessor’s Blues.”

Beat Machine Records is proud to present the fifteenth chapter of its iconic Swinging Flavors series, starring Ac1d Vicious—a brutalist force in underground jungle and acid rave—backed with a remix from high-speed specialist Samurai Breaks.

“Screamer” is exactly that: a hardware-driven sonic assault that draws from 90s breakbeat chaos and acid techno ferocity. Think distorted amen breaks colliding with tortured 303 riffs, all arranged on glitchy hardware gear with no safety nets. Every snare slices through, every bass stabs deep—it’s raw, unstable, and unapologetically intense.

The B-side flips the script with Samurai Breaks’ signature footwork‐meets-jungle rework. Twitchy, fast-paced and percussively scattered, his remix injects hypermodern energy while preserving the original’s rave DNA. The two tracks together form a high-pressure 7” that captures both the nostalgia of old-school warehouse violence and the momentum of cutting-edge club experiments.

Following artists like DJ Sofa, Ornette Hawkins and naco, to name a few recent ones, Ac1d Vicious marks a new evolution for the Swinging Flavors series—one where tempo and texture are weapons, and the dancefloor is a war zone.

This release continues Beat Machine Records' mission to highlight forward-thinking club music rooted in global underground culture, with a sharp focus on physical formats and hybrid rhythms.


b b1. Screamer Samurai Breaks Remix

Strictly limited to just 500 copies, this transparent blue 12” vinyl marks the 142nd release on Systematic. It proudly features none other than the boss himself, Carl Cox, delivering a groovy electro killer you might not have seen coming.
On the flipside, label head Marc Romboy joins forces with his long-time friend Robert Babicz (Kompakt, Force Inc., Mille Plateaux) to present a warm, driving four-to-the-floor tech track that perfectly reflects their signature sound.
A truly powerful package!

Moving Pressure marks its fifth release, and the first one to stretch across a double vinyl with full sleeve artwork. It isn't framed as an album, yet its sequencing carries a narrative weight that lingers between immediacy and introspection.
MP05 welcomes on board Australian producer Connor Wall, whose work fuses tightly wound rhythm and immersive atmosphere, balancing precision with a sense of openness. His sound is rooted in the physical pull of the dancefloor, yet drawn toward zones of suspension and elusion. And Moving Pressure 05 captures that duality very clearly. Momentum sets the tone from the outset - taut drum programming, metallic accents, and structures that build energy in decisive bursts. There's a sense of propulsion that feels engineered for peak hours, exuding a tightening grip on the floor. Gradually, tension loosens up, stretching patterns into spirals, layering vaporous pads and resonant low-end that opens a more interior space.
Together, the two arcs trace Wall's range with clarity: body and mind, force and dissolve. Rather than presenting opposites, they reveal different angles of the same language. An exploration of density, atmosphere, and the subtle thresholds between the two.