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Continuing the remix saga with global flair: Deadbeat Knockout punches up Lover's Rock with punchy dubbed out beats. While Quantic reimagines Forrowest into a soulful, rhythm-driven journey. More cross-genre magic from Nublu's remix vault.

...a re-rendering of Andy Vaz's 2013 deep house classic

DRIVETRAIN - Mix From Detroit
vocal sampling on an enthrallingly seductive rhythm bounce

CLOUDMASTERWEED - Def Mix
ghostly minimalism of deep soul with tribal overtones

JAVONNETTE - Mars Mix
accelerated pads punching through acid reinforcement

ANDY VAZ - Original Mix
the multi-inflected prototype groove for the bewitching after hours

Warehouse Find! Test Pressing!

Andre Lodemann is a highly regarded producer from Berlin whose debut release dropped in 2004 on Mike Grant's legendary Moods & Grooves label.
Last year saw Andre Lodemann release his Innervisions debut Leaving The Comfort Zone EP.
He has remixed for labels such as Innervisions, Buzzin' Fly, Poker Flat and Rebirth.
Squares is a brand new side-project from Fish Go Deep, focusing on completely hardware-based productions and slightly more experimental, left field deep house.
Tony Lionni continues to impress following his Osgut Ton smash Found A Place (which continues to drive dance floors into a frenzy worldwide) with releases on Versatile, Mule, Wave and Madhouse.

Have Isaac Carter & Callum Asa made the most tasteful tech house EP of recent memory? The short answer is
yes....

Isaac and Callum, known for their respective club nights: OCHI and Planet People have been quietly chipping away at the coalface of underground dance music for quite some time now.

Isaac - perhaps known more widely as a regular at Circoloco & Phonox has shared bills with the likes of Moodyman, DJ Bone, Kai Alce, Laurent Garnier and Marcellus Pittmann whilst being championed by Joy Orbison, Ben UFO, Moxie, Seth Troxler, Raresh and Floating Points to name but a few. With such an impressive CV and wide ranging support, it’s wild to note that the first EP released on his own label, OCHI only came out in 2023. His star is clearly ascending with rapidity - so when we throw long term collaborator Callum Asa into the mix, things start to get really interesting. Calum has been running Planet People for the last couple of years, welcoming incredible names such as Shed, Surgeon, Willow, Ploy, Cooly G, Rroxymore and so many more. Steel sharpens steel and having been surrounded by such esteemed talent, it’s clearly rubbed off on the pair who present 4 polished, meticulously constructed, club ready masterpieces, each with their own distinct feel and an insatiable groove.

‘Feel Me’ sets the scene with a descending baseline that would eek a wiggle out of the most reluctant spectator. The twisted dub eeks out even more groove, locking in a more sinister bounce for the heads. By The time ‘Understand’ get’s into full swing, we’re already under the spell of Carter & Asa, this is the kind of roller that could go on forever and ever. The synth embellishments and washes of analog synth pull us deeper and deeper in, prepping us for the finale , ’Try You’ which simmers with deep, brooding intensity.

The magic of the dup’s appeal is that this EP will find its way into the bags of the deepest diggers and also appeal to a new generation of house fans. Elements of it are accessible , but in the right hands - the EP will open a portal to new worlds.

Blair French shifts course with The Migration, his debut release on Choose Better Friends Records. The title track unfolds as a leftfield disco chant, driven by Jess Minnick’s vocals—hypnotic, ritualistic, and rooted in the idea of returning to the source. On the flip, Thermal Soaring moves into deep, soulful jazz-dance territory. Named for the moment a bird rides rising warm air, it lands as a hard-earned metaphor: French lifted without escape, moving forward by feel rather than force.

A compilation of rare and unique songs that blend rock and soul grooves with pop songs sung in the traditional scales of Okinawa, a southern island of Japan. It includes 14 tropical groove tracks from notable artists such as the iconic Yara Families, the pioneer of Okinawan folk rock Shokichi Kina, and Mitsuko Sawamura, who transitioned from Okinawa to American musical films.

We’re chuffed to present this record from Dutch producers Fouk, who make their debut on Freerange Records with a brilliant 4 tracker entitled the Get It Done EP.

Showcasing their signature blend of groove, melody, and dancefloor dynamism.

 ‘Heart Under’, Just Mustard’s second album and first for Partisan Records
(IDLES, Fontaines D.C., Laura Marling), is an album that asks you to forget
what you know. At every turn, this remarkable record reconfigures and
stretches the ideas and ambition of a rock band and turns a year of lockdown
and personal struggles into a breath-taking artistic statement.
 Across its 10 tracks, the album presents a coherent style and ethos - those
scything guitars, Katie’s magical vocals - but still incorporates a wide and
untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In
Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all
tied together with impeccable instrumentation and a united vision.
 On debut ‘Wednesday’, the band played with dreamier soundscapes and
production techniques, and ‘Heart Under’ serves as the next stage of this
development, with every instrument brilliantly pushed to its limit and every
boundary of the band stretched.
 After the band had finished recording and producing the album, ‘Heart Under’
was pushed even further into singular territory when the band worked with
mixer David Wrench, whose previous collaborators include Frank Ocean,
Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone
who had done pop and electronic records and didn’t just work within rock
music,” Katie says.
 “Ireland’s buzziest new band” - The FADER
 “Their rapturous reception here at SXSW is a testament to their startling
evolution as well as the excitement that can only come from watching a band
just beginning to realise the full extent of their powers.” - NME
 “They have well and truly mastered the art of atmospheric rock” - Loud And
Quiet (9/10)
 Supporting Fontaines D.C. on their European and US tours this year. They
were handpicked by Robert Smith to support The Cure in Dublin in 2019.
 Eire headline tour in June, UK headline tour in September, including Village
Underground, and EU headline tour in October.
 Choice Music Prize nomination for Irish Album Of The Year for their debut
album, ‘Wednesday’.
 CD housed in a cardboard wallet with lyric and photo insert.
 LP pressed on black vinyl and housed in a single sleeve jacket with lyric and
photo insert.

Emerging from a shared love of long-form storytelling and hypnotic groove, Techfui presents a stunning double album from Ada Kaleh and Wareika, a cross-continental dialogue between two singular visions of deep and micro house.
Romanian composer and sound alchemist Ada Kaleh channels his signature world of organic textures, dub-soaked spaces and slowly evolving rhythms, known from his forward-thinking work on R&S, Apollo and his own Ada Kaleh Romania imprint. His part of the productions unfolds like a ritual: subtle, detailed and endlessly spiralling, built for dancers who like to disappear inside the groove.
On the other side, trio Wareika bring their unique blend of live jazz sensibility, meditative dub and electronic body music, honed over years of improvisation and boundary-blurring club performances. Their contributions lean into fluid polyrhythms, elastic basslines and shimmering harmonies, tracks that feel alive, breathing and in constant motion.
The journey is expanded by a heavyweight remix cast: minimal house icon Thomas Melchior, Techfui founder and Bahrain mainstay Salah Sadeq, whose deep house productions are crafted to move both heart and floor, and the elusive studio force DUST. Each rework dials the hypnosis in further, stretching time and space without ever losing the warmth of the original material.
True to Techfuis ethos of bringing family, friends and fresh talent together to create honest, unconventional art, this double album is not just a collection of tracks, but a deep, carefully produced listening experience, timeless deep house and micro house for late nights, early mornings and every hazy moment in between.

For our first split, we’re thrilled to welcome Alicante-born, Berlin-based producer Hurtado.

Hurtado headlines our seventh Prophecy with two powerful tracks featuring his signature Birmingham sound, plus a noise/ambient track to complete the A-side.

The samples on “Choose Your Fighter” will transport you to a 90s arcade as you gallop through its distorted percussion.

“Avoiding You” feels like stepping into a terrifying tunnel from a horror movie, while the most primal rhythms resonate in your head.

Hurtado finishes his contribution with “Catacombs of Niagara,” a fantastic noise tool for starting or ending sets.

Side B is handled, as expected, by Elías the Prophet, with two more techno bangers and a short ambient track.

“Resurrection” is a dark track with a melancholic melody fused with powerful beats—Elías’s signature recipe—while “Underdog” is a strong tool ready to be mixed with anything.

To close the album, we have “Good or Evil,” an ambient track divided into two parts: one celestial and the other more tenebrous, ideal for opening sets.

All of this makes up Split Grooves EP, a complete, fully equipped release, just the way we like it.

Fifteen years after it first surfaced on the short-lived Lithuanian netlabel Dumblys, Sraunus – Out Of The City returns remastered, recontextualized, and ready for a new wave of deep listeners. What once felt like a hidden gem now reads as a quiet cornerstone, a record whose significance only grew clearer with time.
Behind Sraunus is Paulius Markutis, one of Lithuanias earliest deep-dub explorers. His moniker translates to “flowing” or “fluid,” and that spirit runs through the entire album: the music breathes, circulates, and drifts with calm inevitability, revealing fresh details on every pass. Rooted in the classic Berlin-born dub tradition yet unmistakably shaped by Markutis own sense of space, mood, and narrative, the result feels beautifully suspended in time, warm in its chords, patient in its arrangements, and guided by a subtle emotional current. This is dub techno at its most enduring: fluid, deep, and endlessly replayable.
The reissue, part of Greyscales Archive Series, arrives on superbly pressed double vinyl, with artwork chosen with intent: Marija Marcelionytė-Paliukės “High Tide and Low Tide,” an image of perpetual motion that perfectly mirrors the albums flowing spirit.

Having transitioned between London, Lisbon and back again as a DJ and producer, as well as across the world as the drummer in beloved pop group, Metronomy, Anna Prior remains an essential and independent force in alternative and electronic music culture. The current epicentre of this creativity is undoubtedly Prior’s own label, Beat Palace. Established in 2021, it has showcased the talent and diversity of FLINTA producers carving an esoteric space within alt-pop and electronic music.

Returning to the imprint for the first time since its inception, Anna Prior utilises this vital platform to refine her own craft across the five-track ‘Firefly’ EP, exploring new moods and styles, balancing playfulness with vulnerability, shadow and light. Prior describes ‘Firefly’ as, “a collection of moments - some fleeting and some stubbornly lingering.... Each track came together almost by accident, but now feels to me like they've always belonged together.”

Lead single ‘True For You’ pulsates with soft euphoria, as Prior weaves softly cascading synths with her own earnest declarations, composing a sensual, sophisticated drama about “letting other people's differing truths sit alongside your own” that nonetheless carries a distinct club energy. In contrast, title track ‘Firefly’, written alongside co-producer Matt Karmil, unfolds as a spoken-word piece, investigating memory, “the tricky mirror that reveals more than it conceals”. Throughout, Prior’s inquisitive, native Yorkshire accent anchors a wide-eyed soundscape that gradually, impressively escalates into the cinematic.

Centerpiece track ‘Silence’ turns this approach inside out, escalating the tempo and revealing a DnB-influenced shade of Prior’s work that is certain to surprise and impress, scattering elegant syllables amongst serious soundsystem pressure as Prior navigates the feeling of being ghosted; by friends, lovers and even her own work. ‘No More Drama’ returns to pop, presenting a bold cover of Mary J. Blige’s classic that inverts the original’s unmatched intensity for a more serene, but no less affecting rendition.

Finally, ‘Beside You’ delivers one last, sublime blend of Prior’s songwriting and sequencing instincts, a simple pop incantation that coaxes dancers into a soft trance while concluding with a reminder from Prior that “amid life’s unanswered calls and fleeting highs, there is always space to feel safe and unjudged.” Concluding this sublime EP, Prior finds new ground to settle into her talents.

Collecting Orders for 2026 Repress

Reload on this Deep House delight from '97 !!

- Limited edition Orange 2x12” vinyl LP.
- Housed in PMS printed inner sleeve, featuring custom fonts by No Format and spot gloss abstraction of the original album artwork.
- Accompanied with a double sided 2-panel insert and double sided 4 panel poster.
- All sleeved in a custom PMS reverse board outer sleeve with die cut square centre panel and belly band.

The Boy and the Tree was composed after a visit to Yakushima Island, an outstandingly beautiful world heritage site off the southern tip of Japan, scored by a deep, lush and ancient ravine, home of the ancient 7000-year old ‘Jōmon Sugi’. Tree. Also the inspiration for Miyazaki's epic anime Princess Mononoke, a conflict between the rampant greed and destructive force of humanity, and the stoic, mysterious fragility of nature.

This fleeting immersion in nature lent the album a profound introspection and mystery, and the its twelve tracks unfold in dream sequence, each drifting seamlessly into the next while still managing to steer the listener in myriad directions, from eerie butoh atmospheres, to ebullient raga, to desolate, cavernous chanson. The Boy And The Tree is definitely one of, if not the most, visually evocative and cinematic Yokota releases.

If you like cold-wave music and you’re nostalgic of the 80s, “Lines & Parallels” by French Swiss trio Factice Factory clearly reveals multiple parallels with this golden decade of dark music. A delicious propulsive bass, cold synths and lots of atmosphere. A dark and at times even claustrophobic atmosphere.

On the release, two musical sides can be identified: two lines or parallels. An electronic and more hypnotic side with the Neue Deutsche Welle-like “Leuchtturm”, the minimal film noir tribute “Audran”, the eighties sounding “Sway” or the harsh industrial tainted “Extinguisher”. The other line is to be heard in tracks such as the desperate and goosebumping “Defeat”, the oriental sounding “Hatch End” or the melancholic end ballad “The Weeping Willow” These two parallel lines finally merge into one single and united sound pattern, a delight that will surely find its place in the ears of many dark music addicts.

POD & Edward Richards bring you part two of their journey into languid tempos and sonic explorations following their ‘Polar Phase’ EP. Mixing World Music, Techno, and Bass, the record flows with a deep narrative evoking worlds both illusory and known. Imagine an otherworldly voyage, chanting Shamans and tribal percussion, ayahuasca ceremonies, lifting the veil that separates worlds, the record looks to lift the listener and transcend the mundane plane into other dimensions. Pugilist nails the idea with his remix of the title cut, both invoking the deep tribal atmosphere whilst bridging to the world of club music.

Dave Lee invites everyone to congregate at the piece of waste land behind his church where he also parks his combine harvester from time to time. Leading proceedings is 'Feel The Light' an extended super uplifting Gospel cut, filled with rousing horns, scorching organ solos and top tier sing-a-long vocal chants. The kind of record that really brings people together, much like the house of god. Flip the record and you're whisked away to the sunny shores of Rio with the Latin Jazz-Funk-tastic 'Further Tales Of Ladybug' a Wayne Henderson of The Crusaders fame piece that has, like the opposite side track been lovingly re-crafted from the stems by Mr Lee.

8-page lyric / drawing booklet, glossy poster, download card (inc. mp3s), white inner paper bags, sticker on cover.

After 7 strange years of relative silence, and 13 years of being a band, Dog Chocolate have returned with ‘So Inspired, So Done In’. Their fourth album is their most focused, cohesive and song-y yet. They still sound like a bin full of wasps, but now the bin has double-cream or a Viennetta or something at the bottom. While many of the 16 songs on here barely make it past the 3-minute mark, each one is bursting with all the textures and colours of an office cupboard: full of old sweets, fluorescent markers, and multiple ways to fix paper together.

Thematically, a lot of ground is covered, with songs tackling subject matter as diverse as overheard conversations, healing fungal toenails, the Rogerian concept of the Actualising Tendency, bronze age living conditions, dreaming songs into being and human-plant relations. Work (and anti-work) is a recurring theme, as is artistic inspiration and burnout. Dog Chocolate revel in the mundane and incidental, to explore bigger, existential questions. Recorded and mixed by POZI’s Toby Burroughs and mastered by Sofia Lopes, ‘So Inspired, So Done In’ charts a long and confusing period in the band’s collective life, marked by major life changes, losses and shifts, colouring the band’s trademark frantic, daft and anxious energy with a contemplative glaze. Dog Chocolate continue to investigate their internal and external landscapes with playful curiosity, frustration, silliness and empathy.

Pre/history of the band: In the early 2000’s Andrew (vocals), Rob (guitar, vocals) and Matthew (guitar, vocals) played together as teenagers in South-East London-based maximalist, costumed surrealist punk band Yeborobo. They met drummer Jonathan playing with his instrument-swapping masked band Limn at art space Utrophia in Deptford. Later, when both bands had split, Dog Chocolate formed with a shared desire to make a band that was simpler than their theatrical past: small amps and light guitars, no more than 2 drums at any one time, a keyboard no longer than a ruler and a shared ethos… “it’s about giving a shit, but at the same time not giving a shit, but not ‘whatever’, not giving up never!”. The band floated the term “pencilcase punk” to describe their jumbled, colourful, dense and instant music.

Dog Chocolate built on this early scrappiness, bedding into their sound over several albums. Their first “Or” (2014) was a split with Ravioli Me Away, soon followed by “Snack Fans” (2016) and “Moody Balloon Baby” (2018). Along the way they played gigs with bands as wide ranging as Deerhoof, No Age, Dry Cleaning, Palm, Daniel Wakeford, Shopping and Pozi.

With a tendency to converse with each other both lyrically and musically cultivated over many years, the members of Dog Chocolate bounce off each other, respectfully disagree, try to make each other laugh and share some of their most vulnerable feelings with each other. ‘So Inspired, So Done In’ is their own unique offering during these unsteady times: a language of friendship translated into songs.

Behind the name Pouf Pouf Pantoufle lie six musicians from Nancy, graduates of the Lillebonne music school: Vincent Petit on double bass, Gabriel Lambert on bass, Guillaume Schwab on keyboards, Tom Colombain on trombone, Gaspard Petitnicolas on flute, and Solal Piquand on drums.

In 2022, they founded the APC (Appellation Pantouflarde Contrôlée) association and started organizing concerts at the legendary MJC Lillebonne, often alongside BMM and RPT. Thanks to their eclectic and avant-garde line-ups, these events have become unmissable for fans of hybrid music, electronic curiosities, and off-format performances.

Through a form of free, improvised, and chaotic jazz, the band Pouf Pouf Pantoufle echoes the local scene that they federate. The sextet now presents its first eponymous studio album, a genuine laboratory of improvisation and experimentation with different materials and sound textures, mixing acoustic and electronic elements in an intense and exhilarating jumble.

ARCHIVE veröffentlichen am 27. Februar 2026 ihr 13. Studioalbum Glass Minds über ihr eigenes Label Dangervisit / PIAS. Nach dem monumentalen Triple-Album Call to Arms & Angels (2022), das europaweit Top-10-Erfolge feierte und in einem triumphalen Konzert in der Pariser Accor Arena mündete, kehrt die Band mit einem Werk zurück, das intime Tiefe und epische Weite meisterhaft verbindet.

Musikalisch schlägt Glass Minds eine Brücke zwischen minimalistisch-introspektiven Klangwelten und treibenden, genreübergreifenden Arrangements – von hypnotischem Electro-Pop (Wake Up Strange) über motorische Gitarren-Power (Look At Us) bis hin zu tiefen Ambient-Atmosphären. Ergänzt wird das Album durch starke Gäste: Rapper Jimmy Collins verleiht „Heads Are Gonna Roll“ eine schneidende Intensität, während Lisa Mottram auf Songs wie „Glass Minds“ oder „The Love The Light“ ihre hypnotische Stimme einbringt.

Glass Minds markiert eine neue Schaffensphase in den drei Jahrzehnten von Archive. Von der Melancholie eines „So Far From Losing You“ bis hin zur Euphorie von „Shine Out Power“ demonstriert das Kollektiv seine ungebrochene Innovationskraft. Begleitend startet im Frühjahr 2026 eine große Europatournee mit Konzerten u. a. in Amsterdam, Paris, Hamburg und London.

Franck Roger has been busy this year. The Frenchman is already an assured deep house mainstay who has worked with plenty of the most tasteful labels. Here he lands on the Seasons Limited imprint as they head into their 30th year in 2026. This typically soulful EP opens with 'My Illusion', which has Roger again centreing his own vocals to beautiful effect. 'Organika' is a supple, subtle and smoky deep house gem for cosy vibes and 'Emotive' shuts down with a lush, slow-burning sound that taps right into the earliest house roots. Sublime.

"Originally released in 1979 on Sly & Robbie's Taxi label, this album was Black Uhuru's second LP. Recorded at Channel One it set forth a new sound in recorded music technology. The songs blend into dub versions and the mixing is simply stunning. The track Shine Eye Gal also features guitarist Keith Richards"
(but hey, nobody's perfect).

"Hear the meticulous song writing of Michael Rose, joined by Puma Jones & Duckie Simpson, to complete the vocal line-up.

Sly & Robbie and the Taxi Gang created a sublime sonic masterpiece at Channel One studio in Jamaica. They were at their absolute peak of their powers, before being launched as global superstars with Grace Jones.

Black Uhuru went on to be an extremely popular live outfit, touring endlessly around the world, breaking down barriers and making new inroads to territories previously unknown to Jamaican artists.

This Classic reissue is a must for all reggae collectors."

Straight from Honolulu, Bombye is a newly found Hawaiian soul trio led by Nick Kurosawa, one of Hawaii’s most captivating voices. Known for his rich,
velvet tone and vintage-inspired phrasing, Nick and his band channel the essence of 1970s soul, funk, and R&B into a deeply organic soundscape that feels both nostalgic and new.
The EP features four tracks that showcase the band’s musicianship and emotional depth.
Mixing by Andrew Garma and mastering by Wax Alchemy deliver exceptional clarity and analog warmth, while Shiro Ishihara (SNEA) provides the minimalist yet evocative artwork
that perfectly complements the record’s soulful aesthetics. This limited-edition vinyl includes a bonus “Bombye” sticker exclusive to CONNECT RECORDS. Each copy is pressed with
care for collectors, DJs, and analog enthusiasts seeking authentic, heartfelt soul music with timeless groove and depth.

Formed in Southend in the late 90’s, Beatglider’s tale is a familiar one taking in early acclaim only for momentum and promise to be dashed by major label statis and indifference.

After the release of the debut long-player, ‘40 Days Of Summer’, in 1999 the band signed to Sony subsidiary Lakota and decamped to LA to record its follow-up, ‘Dreaming Of Roads’, an album that was never to see the light of day.

And now, over 20 years later, ‘Dreaming Of Roads’ eventually gets a deserved release on 28th February via the Arlen label. A beautiful 11-track understated delight which musically falls somewhere between the likes of Elliott Smith, Grandaddy, Yo La Tengo and Sparklehorse, the album has not only stood the test of time, but arguably sounds as fresh as ever in 2026.
The tracklisting of the album - recorded in Los Angeles at the famed Sound City studios - is as follows:

4XLP box set, 4 Coloured discs: translucent violet, ice, blue, and orange vinyl

Hardcover slipcase box
Celebrate twenty-five years of Ape Escape and thirty years of PlayStation with Ape Escape 3 Originape Soundtracks in a Box!

Ｓａｒｕ　Ｇｅｔ　Ｙｏｕ　３

As with the Ape Escape Originape Soundtrack, composer Soichi Terada has meticulously re-recorded and reconstructed all tracks from the Ape Escape 3 Original soundtrack. Previously only available on CD, this is the complete soundtrack's first time on vinyl. This box set was produced in partnership with Mr. Terada and Far East Recording, and is an officially licensed Sony Interactive Entertainment product.

This release contains eighty tracks, spanning four individually sleeved records, housed in a hardcover box. It is similar in construction to the Ape Escape Originape Soundtracks in a Box release (2024), and the two will look quite nicely next to one another on your shelf!

We are happy to announce that this box set features a definitive edition of the Ape Escape 3 Originape tracklist. This also includes "Swanlake," a track previously unavailable on the CD release. At its core, the Ape Escape 3 soundtrack features much of Soichi Terada's signature sound: lush electronic, jungle, silky smooth synthesizer, humor, and charm.

Ape Escape 3 was originally released in 2005 (Japan), and its moviemaking pipos were unleashed across the rest of the globe in 2006. The game features two new protagonists (Kei and Yumi) who battle the Freaky Monkey Five, underlings of the nefarious Dr. Tomoki and the evil monkey Specter.

Complimenting the game's journey through the TV-verse, the Ape Escape 3 soundtrack also features twists on themes from Wild West Showdowns, Kung-Fu movies, and space operas. Fans of the Ape Escape Originape Soundtrack, as well as newer work like Asakusa Light, will certainly enjoy all elements of Soichi Terada's music present in Ape Escape 3.

The music on this box set was mastered by Justin Perkins of Mystery Room Mastering, who also mastered the original Ape Escape Originape Soundtracks box set (2024). Using Mr. Terada's premastered source files, the music was completely and specifically mastered for vinyl. The box set also features original Ape Escape 3 character renders and key art. All of the design elements have been put together with careful thought, referencing the original Japanese guidebook for inspiration and visual cohesiveness.

It is with great pleasure that we celebrate Soichi Terada's music and the Ape Escape franchise with this four-disc release!

Original key art and renders from the サルゲッチュ team


Officially licensed © Sony Interactive Entertainment
©2025 Sony Interactive Entertainment Inc. “PlayStation”, ”プレイステーション”, “Ape Escape” and ”サルゲッチュ” are registered trademarks of Sony Interactive Entertainment Inc.

Shrouded in myth and working quietly at the edges of modern composition, the enigmatic Anichy & Lyemn announces the release of their newest recording on the esteemed Swiss imprint Fabrique d'Instruments—a new label championing radical, visionary sound.
This deeply affecting work unfurls as a meditation on impermanence, memory, and the slow unravelling of time. Across its extended movements, they create a sound world that is at once symphonic in scale and intimate in breath, echoing the aching resonance of William Basinski’s The Disintegration Loops, the spectral drift of The Caretaker, and the luminous stillness of Gavin Bryars.

Strings sigh, distant sounds dissolve, and tape-worn melodies return like half-remembered dreams. It is music that feels remembered more than heard—a fragile architecture built from erosion, decay, and the stubborn persistence of beauty.
Adding to its mystique, the record features previously unheard collaborations with a legendary British minimalist composer, whose identity remains deliberately withheld. These rare sessions—long thought lost to time—reveal the artist exploring harmonic minimalism with a disarming tenderness, the composer’s unmistakable signature woven delicately through Anichy & Lyemn’s drifting orchestral shadows.

At a moment when the world feels increasingly unmoored, this record arrives as a quiet monument to what slips away, and what remains.
Artist is available for very limited interviews.

No coment would be better... So you just listen


Cut at The Exchange by Simon Davey (UK)
Pressed at Records Industry (NL)
Distrivbbuted by Toolbox (FR)

Frontierless.

Second Sinystria brings again a major acid dancefloor experience.
A meeting of Italian and Nederland artists... Travelling around :)

ENJOY !

Fifth chapter of Disturbo Records, our bigger collaboration so far with great friends and great artists, delivering 8 tracks of pure mayhem. this time out on a double 12" gatefold fully illustrated by our brother in Kota Kinabalu: Mamink aka No Solucion.
All tracks written, arranged and mixed by the artists.
Masters by Exchange.

Blumet Lab came back in force with stomping beats!
Second release, with A side at the old good 180bpm, a journey into a panic attack with Blumet and Rotek, no psychiatric needed.
Alifer is back!! And his legendary Chandra re-cutted on this mad release! New fat master. Can't miss this.
The flip slows down, against patriarchy and women abuse at parties with SpK and Vyola, a shout to all the bad vibers around!
Super stompy tune!
Follow Tekotak with a superb Mystical trip, with a mind blowing kick and atmos! This bomb is needed in every bag.

Nothing waren schon immer Regelbrecher. Shoegaze-Rebellen, die das typischerweise leichtgewichtige Genre nach ihrem eigenen, knallharten amerikanischen Image neu erfunden haben. Outlaw-Poeten, die existenzielle Ängste auf kilometerbreiten Leinwänden aus Fuzz und Hall ausbreiten. Angefangen als Solo-Projekt in einem Schlafzimmer in Philadelphia im Jahr 2010, hat die Musik von Nothing immer die ganze Bandbreite des Menschseins eingefangen, sowohl die schreiende Wut als auch die flüsternde Traurigkeit. ,A Short History of Decay", das fünfte Soloalbum von Nothing und das erste für Run For Cover Records, erweitert diesen Horizont noch weiter und bietet die bisher hochauflösendste Darstellung von Nothing. Die Band hat noch nie so kolossal geklungen, sich noch nie so intim angefühlt, war noch nie so ehrlich. Mit dem stärksten Arsenal in der sich ständig verändernden Besetzung von Nothing - Gitarrist Doyle Martin (Cloakroom), Bassist Bobb Bruno (Best Coast), Schlagzeuger Zachary Jones (MSC, Manslaughter 777) und dem dritten Gitarristen Cam Smith (Ladder To God, ebenfalls von Cloakroom) - wusste Singer-Songwriter Domenic ,Nicky" Palermo wusste, dass er die nötige Manpower hatte, um das bisher ambitionierteste Album der Band aufzunehmen. Mitgeschrieben und produziert wurde es zusammen mit Whirr-Gitarrist Nicholas Bassett, zusätzliche Produktions- und Mixing-Arbeiten übernahm Sonny Diperri (DIIV, Julie). a short history of decay ist das musikalisch ausgereifteste Statement im Katalog von Nothing. Songs wie ,Cannibal World" und ,Toothless Coal" sind katastrophale Ausbrüche mechanisierten Industrial-Gaze, die wie My Bloody Valentine klingen - nur extremer. Am anderen Ende des Spektrums steht das kunstvoll-düstere ,Purple Strings" mit einem wunderschönen Streicharrangement, an dem die Harfenistin und zweifache Nothing-Mitwirkende Mary Lattimore beteiligt ist. Diese barocke Zartheit durchdringt auch andere Höhepunkte von ,A Short History of Decay", insbesondere ,The Rain Don't Care", eine beschwingte Ballade, die die abgenutzte Eleganz von Mojave 3 kanalisiert, sowie ,Nerve Scales", ein prasselnder Bop, der in seiner Verbindung von jenseitiger Atmosphäre und tödlicher Präzision an Radiohead erinnert. Palermo bezeichnet das neue Album als ,letztes Kapitel". Nicht das Ende von Nothing, sondern der Abschluss einer Geschichte, die mit dem Debütalbum von Nothing aus dem Jahr 2014, Guilty of Everything, begann - einem weiteren Album über Zeit, Reue und die Konfrontation mit unangenehmen Wahrheiten - und nun mit A Short History of Decay ihren Abschluss findet. Es ist ebenso sehr eine Momentaufnahme von Palermos Vergangenheit wie ein Sprung in die Zukunft von Nothing.

Nothing waren schon immer Regelbrecher. Shoegaze-Rebellen, die das typischerweise leichtgewichtige Genre nach ihrem eigenen, knallharten amerikanischen Image neu erfunden haben. Outlaw-Poeten, die existenzielle Ängste auf kilometerbreiten Leinwänden aus Fuzz und Hall ausbreiten. Angefangen als Solo-Projekt in einem Schlafzimmer in Philadelphia im Jahr 2010, hat die Musik von Nothing immer die ganze Bandbreite des Menschseins eingefangen, sowohl die schreiende Wut als auch die flüsternde Traurigkeit. ,A Short History of Decay", das fünfte Soloalbum von Nothing und das erste für Run For Cover Records, erweitert diesen Horizont noch weiter und bietet die bisher hochauflösendste Darstellung von Nothing. Die Band hat noch nie so kolossal geklungen, sich noch nie so intim angefühlt, war noch nie so ehrlich. Mit dem stärksten Arsenal in der sich ständig verändernden Besetzung von Nothing - Gitarrist Doyle Martin (Cloakroom), Bassist Bobb Bruno (Best Coast), Schlagzeuger Zachary Jones (MSC, Manslaughter 777) und dem dritten Gitarristen Cam Smith (Ladder To God, ebenfalls von Cloakroom) - wusste Singer-Songwriter Domenic ,Nicky" Palermo wusste, dass er die nötige Manpower hatte, um das bisher ambitionierteste Album der Band aufzunehmen. Mitgeschrieben und produziert wurde es zusammen mit Whirr-Gitarrist Nicholas Bassett, zusätzliche Produktions- und Mixing-Arbeiten übernahm Sonny Diperri (DIIV, Julie). a short history of decay ist das musikalisch ausgereifteste Statement im Katalog von Nothing. Songs wie ,Cannibal World" und ,Toothless Coal" sind katastrophale Ausbrüche mechanisierten Industrial-Gaze, die wie My Bloody Valentine klingen - nur extremer. Am anderen Ende des Spektrums steht das kunstvoll-düstere ,Purple Strings" mit einem wunderschönen Streicharrangement, an dem die Harfenistin und zweifache Nothing-Mitwirkende Mary Lattimore beteiligt ist. Diese barocke Zartheit durchdringt auch andere Höhepunkte von ,A Short History of Decay", insbesondere ,The Rain Don't Care", eine beschwingte Ballade, die die abgenutzte Eleganz von Mojave 3 kanalisiert, sowie ,Nerve Scales", ein prasselnder Bop, der in seiner Verbindung von jenseitiger Atmosphäre und tödlicher Präzision an Radiohead erinnert. Palermo bezeichnet das neue Album als ,letztes Kapitel". Nicht das Ende von Nothing, sondern der Abschluss einer Geschichte, die mit dem Debütalbum von Nothing aus dem Jahr 2014, Guilty of Everything, begann - einem weiteren Album über Zeit, Reue und die Konfrontation mit unangenehmen Wahrheiten - und nun mit A Short History of Decay ihren Abschluss findet. Es ist ebenso sehr eine Momentaufnahme von Palermos Vergangenheit wie ein Sprung in die Zukunft von Nothing.

Nothing waren schon immer Regelbrecher. Shoegaze-Rebellen, die das typischerweise leichtgewichtige Genre nach ihrem eigenen, knallharten amerikanischen Image neu erfunden haben. Outlaw-Poeten, die existenzielle Ängste auf kilometerbreiten Leinwänden aus Fuzz und Hall ausbreiten. Angefangen als Solo-Projekt in einem Schlafzimmer in Philadelphia im Jahr 2010, hat die Musik von Nothing immer die ganze Bandbreite des Menschseins eingefangen, sowohl die schreiende Wut als auch die flüsternde Traurigkeit. ,A Short History of Decay", das fünfte Soloalbum von Nothing und das erste für Run For Cover Records, erweitert diesen Horizont noch weiter und bietet die bisher hochauflösendste Darstellung von Nothing. Die Band hat noch nie so kolossal geklungen, sich noch nie so intim angefühlt, war noch nie so ehrlich. Mit dem stärksten Arsenal in der sich ständig verändernden Besetzung von Nothing - Gitarrist Doyle Martin (Cloakroom), Bassist Bobb Bruno (Best Coast), Schlagzeuger Zachary Jones (MSC, Manslaughter 777) und dem dritten Gitarristen Cam Smith (Ladder To God, ebenfalls von Cloakroom) - wusste Singer-Songwriter Domenic ,Nicky" Palermo wusste, dass er die nötige Manpower hatte, um das bisher ambitionierteste Album der Band aufzunehmen. Mitgeschrieben und produziert wurde es zusammen mit Whirr-Gitarrist Nicholas Bassett, zusätzliche Produktions- und Mixing-Arbeiten übernahm Sonny Diperri (DIIV, Julie). a short history of decay ist das musikalisch ausgereifteste Statement im Katalog von Nothing. Songs wie ,Cannibal World" und ,Toothless Coal" sind katastrophale Ausbrüche mechanisierten Industrial-Gaze, die wie My Bloody Valentine klingen - nur extremer. Am anderen Ende des Spektrums steht das kunstvoll-düstere ,Purple Strings" mit einem wunderschönen Streicharrangement, an dem die Harfenistin und zweifache Nothing-Mitwirkende Mary Lattimore beteiligt ist. Diese barocke Zartheit durchdringt auch andere Höhepunkte von ,A Short History of Decay", insbesondere ,The Rain Don't Care", eine beschwingte Ballade, die die abgenutzte Eleganz von Mojave 3 kanalisiert, sowie ,Nerve Scales", ein prasselnder Bop, der in seiner Verbindung von jenseitiger Atmosphäre und tödlicher Präzision an Radiohead erinnert. Palermo bezeichnet das neue Album als ,letztes Kapitel". Nicht das Ende von Nothing, sondern der Abschluss einer Geschichte, die mit dem Debütalbum von Nothing aus dem Jahr 2014, Guilty of Everything, begann - einem weiteren Album über Zeit, Reue und die Konfrontation mit unangenehmen Wahrheiten - und nun mit A Short History of Decay ihren Abschluss findet. Es ist ebenso sehr eine Momentaufnahme von Palermos Vergangenheit wie ein Sprung in die Zukunft von Nothing.

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer

Dass es jede Menge deutsche Thrash-Legenden gibt ist ja nun kein Geheimnis ... Aber statt sich immer nur die alten Standards reinzutun, sollte man sich lieber mal mit einer Underground-Perle beschäftigen, die der eine oder andere von euch kennen sollte: Necronomicon! Noch nie gehört? Tja... Das Leben als Thrasher hätte so schön sein können, wenn...ja, wenn Necronomicon Mitte der 80er nicht so ein Pech mit ihrem Label Scratchcore gehabt hätten... „Apocalyptic Nightmare“ von 1987 wurde hierzulande erstmal großflächig und schändlich ignoriert. In den Staaten, in Südamerika und in allen Skandinavischen Ländern wurde das zweite Album der Baden-Württemberger dagegen mächtig abgefeiert – und dass man in diesen Ländern was von guter Musik versteht, ist ja wohl klar. Sänger Freddy braucht den Vergleich mit Destructions Schmier nicht zu scheuen, und der Gitarrensound auf „Apocalyptic Nightmare“ ist schon des Öfteren mit den frühen Celtic Frost verglichen worden. Während ein kleines, obskures Label Necronomicon damals den Start versaut hat, werden High Roller Records es besser machen – und zwar mit der Deluxe-Re-Edition von „Apocalyptic Nightmare“! Mit dem Signing bei High Roller geht für die Band endlich eine echte Odyssee zu Ende!

Mit The Mirror legt Buck Meek, Gitarrist von Big Thief, sein viertes Soloalbum vor - ein feinfühliges Werk über Sprache, Identität und das ständige Sich-Verändern. Freunde und Weggefährt:innen wie Adrianne Lenker, Jolie Holland oder Tucker Zimmerman wirken mit und hinterlassen ihre Spuren nicht nur musikalisch, sondern auch in den Texten. Meek begreift Songwriting als gemeinschaftlichen Prozess und nutzt den Spiegel als zentrales Bild: nicht zur Selbstbespiegelung, sondern als Gegenüber, das Fragen stellt. Aufgewachsen in einer kunst- und literaturgeprägten Familie in Texas, sammelte Meek früh vielfältige musikalische Erfahrungen - von Blues über Jazz bis Folk. Diese Offenheit prägt auch The Mirror. Gemeinsam mit Produzent James Krivchenia verbindet er die Live-Energie einer Band mit subtilen elektronischen Texturen. Die Aufnahmen entstanden in einem experimentellen, offenen Setting, das Spontaneität über Perfektion stellt. In seinen Songs geht es um Nähe, Verletzlichkeit und die Brüchigkeit von Erinnerung. Wortspiele, Spiegelungen und innere Dialoge machen Sprache selbst zum Thema. Angst und Zweifel erscheinen dabei nicht als Gegenspieler, sondern als Begleiter. The Mirror erklärt nicht - es hört zu, tastet sich vor und lädt dazu ein, dem Unbekannten mit Neugier zu begegnen.
Sicherhe

Brandneues Album von Stephen O'Malley, dem Mitbegründer von SUNN O))), mit neuen, bisher unveröffentlichten Stücken für Pfeifenorgel. Diese Platte hat zwei lange Stücke für Orgel von Stephen O'Malley, die er auf diesen Aufnahmen zusammen mit der bekannten Organistin Kali Malone und Frederikke Hoffmeier (Puce Mary) spielt. Das Album wurde an Weihnachten 2021 in der Église Saint-François in Lausanne, Schweiz, auf Les Grandes Orgues (Scherrer (1777), Walker (1867), Kuhn (1995)) in der Église Saint-François in Lausanne, Schweiz, aufgenommen und ursprünglich von Stephen im Rahmen einer Suite mit dem Titel Les Sphères (effondrez-les), Phasen I-V, für eine Zusammenarbeit mit der bekannten belgisch-schweizerischen Choreografin Cindy Van Acker komponiert. Neben den beiden Orgelwerken auf dieser Platte umfasste die Suite auch die Phasen III und V für E-Gitarre, Verstärker und Elektronik (gespielt von Stephen O'Malley und Kali Malone) sowie die Phase IV für Percussion-Ensemble (gespielt von Eklekto). Abgemischt von Stephen O'Malley im EMS, Stockholm, und von François-Xavier Delaby und Tristan Mazire, Paris, im Februar 2022. Gemastert und geschnitten von Rashad Becker, Berlin, Juni 2025. Perfekte Pressung bei Optimal, Deutschland. Dieses Album ist eine Koproduktion mit La Becque Editions. Stephen O'Malley ist auch auf der kommenden Compilation ,XKatedral Anthology Series III" vertreten. Stephen O'Malley ist Gründungsmitglied von Sunn O))), die 2026 ausgiebig auf Tournee sind.