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Rose Connolly has a beautiful voice with a wide melodic range, which she bends, twists, strains and warps through both her physical exertions and a sample-based granular synthesiser. The results recall both the Gaelic tradition of séan-nos singing, and the work of experimental artists such as Meredith Monk, Yoko Ono and Hatis Noit, while the beats meld folk with gothic, 4AD-era soundscapes unmatched since the glory days of This Mortal Coil.” – The Guardian (10 Best Folk Albums of 2024) “RÓIS is a composer, vocalist, multi-instrumentalist, and electronic artist from Fermanagh, whose songs breathe new life into a forgotten Ireland. Self-released, written and produced by RÓIS with additional production from John Spud Murphy (OXN/Lankum), 'MO LÉAN' is a concept album, taking the listener through the grieving process from start to finish, from the chaos that loss brings, to the intense emotional outpourings and finally, a cathartic release.

‘MO LÉAN' features several new original recordings and reworks of songs and hymns based around the concept of death, life, mourning and catharsis. RÓIS re-imagines the tradition of 'keening' in Ireland that goes back to pre-christian times, a practice in which women would 'keen' a lamenting wail at the side of a coffin during a wake. After discovering the last two recordings of keening songs, RÓIS was inspired by their ethereal melodies to give them a modern reworking yet honouring the original women by sampling them in her adaption. 'Keeners', through their voices, movements and laments, conveyed the communal expression of grief and allowed those suffering a way to release their sorrow and loss. RÓIS aspires to do the same with 'MO LÉAN', by expressing the power of the voice to transcend death and help us relinquish our fear of it

The classic Fearless Iranians From Hell Die For Allah LP is now back in print after a twenty-five year hiatus. Remastered and repressed on nuclear green vinyl, this hardcore punk arsenal also includes all tracks from their literally explosive Blow Up The Embassy 7-inch debut. FIFH was a mysterious Texan monstrosity formed in 1983 by Iranian expat (and modern day hashashin) Amir Mamori, who gathered to his side various mutants and apocalyptic freaks from the San Antonio punk rock blast zone, even throwing in two Butthole Surfers rejects for good measure (including none other than the notorious Anus Presley himself). The subsequent recording sessions were a chaotic affair, as guitars were rarely in tune and the drums were seemingly scavenged from the trash. It was all directed by Amir who, with fanatical focus, would inspire the band on to victory from behind a stupifying cloud of hash smoke. The resulting releases were widely praised; from places like Maximum Rock n Roll and the Village Voice in the US, to Sounds and New Musical Express in the UK. They were even cited as forerunners of the musical genre known as Taqwacore. After touring the US in the late ’80s—and leaving in their wake crowd turbulence, police intimidation, and even bounties being place on the heads of the members—the band disbanded in 1989 upon the death of the Ayatollah Khomeini (may Allah have mercy on him). “We’re stoned as shit, and we’re ready to roll.” - F.I.F.H. ’87

When a Russian missile struck the ground not far from my studio in Kyiv, I vividly remember how my body reacted to the explosion, milliseconds before my mind did. That traumatic explosion reduced my essence to a primal state. There existed nothing but dread—the kind that, in scripture, accompanies the appearance of angels announcing, ’Be not afraid’.

The visions of Abbess, composer and mystic Hildegard von Bingen were preceded by bright, excruciating flashes of light. Modern medicine reduces them to cluster migraines, one symptom of which is the retinal aura, often accompanied by blurred vision and blind spots. Hildegard’s music can place great demands on the bodies of its performers, emphasizing uncomfortable intervals and the wide distance between the lowest and highest pitch. In comparison, Gregorian chant, the liturgical standard of the time, represents a tempered attempt to grasp God intellectually; indeed, Hildegard’s music was once described as a stick of dynamite thrown into a Gregorian chant.

This album is not a historically informed performance. Hildegard’s persona and music are a starting point—a distant mirror, akin to the shield of Perseus, used to reflect Medusa. It allows us to reflect, comprehend, externalise, and transcend traumatic wartime experience, reinstating the embodied origins of Christianity, which contained suffering but also offered the promise of transcendence. Andriana-Yaroslava Saienko emphasises this physical aspect of Hildegard’s music by drawing on authentic Ukrainian folk singing, a form that survived despite efforts by the Soviet occupation to replace it with a simulacrum that is naive, harmless, and devoid of contradictions—an attempt to ‘civilise’ the body by disembodying it.
The musical approach is also informed by my ongoing practice of reimagining early music in modular synthesis. I accompany Andriana-Yaroslava’s fiery singing with drones—extended sounds that also occurred in medieval music. The drones alternate with improvisations, one taking its starting point in medieval polyphony, the other working with the concept of the interchangeability of sound and light, referring both to Hildegard’s visions and the space in which we recorded the album: the Cistercian abbey of Sylvanès in Occitania, known for contemporary stained glass windows whose patterns reference the dispersion of acoustic waves inside the church.


The album features two compositions by Hildegard von Bingen: O Ignis Spiritus Paracliti (O Fire of the Spirit and Defender), dedicated to the Holy Spirit, and O Tu Suavissima Virga (O Sweetest Branch), in honour of the Virgin Mary. Both pieces are performed radically slower than usual, expanding in time and space. On vinyl, the compositions are designed to reflect one another and can be listened to in either order. In the digital edition, there is a bonus track titled Zelenaia Dubrovonka (The Green Oak Grove). Based on a Ukrainian folk song from the Polissia region, Andriana Yaroslava adapted the lyrics to reflect our contemporary reality. The green oak grove does not rustle with the wind; instead, it resonates with a different sound—perhaps the missile that struck near my Kyiv studio.

Skymark is back with a new album recorded in 2025 with his electric pianos and analog synthetisers. The vibes is very similar to his previous albums, a fusion of Spiritual Jazz, Soul, Brazilian music and Disco. As always influenced by his 70´s and 80´s favorite musicians but with a touch of contemporary soulful music. This is a very limited vinyl edition mastered by Jose Rico (Madrid) and pressed by Mad Vinyl music (Madrid).

Mannequin Records presents a special release that bridges two generations of electronic body music: DAF’s iconic track “El Que” reimagined by French techno and EBM pioneer Terence Fixmer.

A lifelong admirer of DAF, Fixmer has been playing El Que in his DJ sets for years, considering it one of the band’s most enduring and powerful pieces. His connection to the track and to DAF’s groundbreaking legacy is the core inspiration behind these two new remixes, created with both reverence and bold creative vision.

On the “El Que (Terence Fixmer Leather Remix)”, Fixmer remains close to the original’s raw, muscular pulse while injecting a sharp, modern club sensibility. The remix builds on DAF’s unmistakable rhythmics but adds a contemporary momentum that feels like a natural extension of the band’s DNA. “It was like imagining what I would do if I were a member of DAF today,” Fixmer says.

The second version, “El Que (Terence Fixmer Drive Remix)”, ventures deeper into Fixmer’s own territory: darker, hypnotic, and peak-time focused. Tension and release are crafted with surgical precision, taking the original’s spirit into a harder-edged, suspense-driven sound world. It’s a version built for late-night floors without ever losing the soul of El Que.

Fixmer explains:
“I’ve been playing DAF’s El Que in many of my DJ sets for years. It’s a track I deeply loved from the first listen. I’m super proud to have remixed DAF — one of my cult bands and a major influence on my sound and electronic universe. For the "Leather Remix", I wanted to stay close to the original while bringing modernity and club momentum. For the "Drive Remix", I pushed the track toward darker, peak-time and hypnotic techno, keeping the soul of the original intact. I wanted to make versions that make you think: ‘I know this track… but wait — what is this version? I want it!’ When I tested them, that’s exactly what happened.”

DAF remains one of the most influential bands in electronic music history. These new remixes by Terence Fixmer reinforce the timeless power of El Que while offering two striking, club-ready perspectives for a new generation of listeners.

A collection that balances soulful vibes with modern an edge. Saison's "Can't Get Through" opens with deep textures and a classic house swing, while Piem, Saison & Kid Enigma's "Don't Stop" injects vocal fire and raw energy into the A-side. Flipping over, Matt Gillespie's "Need You Now" layers warmth and urgency into his take on the classic garage sound. Closing the record, Scott Diaz & Miss Yankey's "Intergalactic (Alternate Rub)" ventures into more garage territory with its atmospheric pull and soulful chords. A versatile package that brings together established names and rising voices in perfect balance.

Glasgow’s Fortified Audio returns after at least a ten years long hiatus (No pun intended) and now returns to the world of bass with a full length album from local music firestarter Ten Years Lost. Modern day trap instrumentals at its core whilst sub-consciously giving hints of Drexciya, Moroder and the Memphis & Croydon bass music regions alongside some real deft sampling but still remains Glasgow at its core!

LS002 marks the first vinyl chapter of 20, Eitan Reiter's two-decade retrospective, distilled through key collaborations and remixes. Featuring Patrice Bäumel, Infected Mushroom, Shpongle, Red Axes, and Echo, this six-track release connects psychedelic heritage with contemporary indie dance and deep electronic aesthetics.
20 (Part 1) is a 12-inch vinyl edition featuring exclusive vinyl cuts, available only on this pressing. The selection reflects Reiter's ability to honor his roots while maintaining a distinctly modern sound,blending psychedelic foundations with cluboriented precision.

A1 - Eitan Reiter - Blue Planet (Remix) Vinyl Cut
The A-side opens with a spacious, atmospheric rework of Blue Planet, balancing restrained tension with melodic clarity.
A2 - Eitan Reiter - X-Vision feat. Echo Vinyl Cut
Echo's vocal performance anchors the track, presented here in a refined vinyl cut that enhances its emotional depth.
A3 - Eitan Reiter & A. Balter - E0E (Eitan Reiter Remix) Vinyl Cut
A driving, hypnotic groove where rhythmic focus meets evolving textures.
A4 - Infected Mushroom & Yahel - Electro Panic (Eitan Reiter Remix) [Vinyl Cut]
A confident reworking of a psytrance classic, reshaped into an 80s-leaning indie dance format.
B1 - Eitan Reiter - Eat You (Patrice Bäumel Remix)
Patrice Bäumel heightens the track's underlying tension with a slow-building, immersive reinterpretation.
B2 - Out of Orbit & Shpongle - No Disco (Red Axes Remix)
Red Axes flip the original into a dark disco framework, adding weight, swing, and late-night character.

LS002 presents a vinyl-focused snapshot of Eitan Reiter's collaborative output, with each track adapted for turntable playback.

After an exceptional and well-received collaborative EP with Tina Ramamurthy on Amotik 014 earlier in 2024, Amotik picks up where he left off and delivers four sublime solo works for Amotik 015. His self-titled imprint, running since 2015, has been a steady home base for his own productions, quickly becoming an essential catalogue in modern techno. Here, once again, he delivers a full pack of pure techno jams. Whether its the swinging percussion hooks in Assi, the hypnotic groove of Unnasi, or the banging kick drums of Ikyasi, this is yet another essential release for every techno enthusiast.

“The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions—the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder.

“Two songs established the spine of this music. Songs I’ve always loved, it seems even before I’d heard them. The first one, and the source of the title is ‘You Belong to Me’ by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it’s also a beautiful mid century romance—and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth.

“The second song is ‘Promised Land’ by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he’s safely arrived in the new one.

“The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open.

“The cover is a photo of my mom—one I never saw when she was alive. With the headscarf and that excited, nervous expression, she looks about to embark on a journey. Ready, finally, to cross the tarmac and board the Silver Plane. “Wishing safe travels to all.” — Mark N / Pan•American



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[b] DEATH CLEANING [listen]

aut drum science and steely atmospheres are the order of the day as Terrain deliver a moody, stripped-back four-track EP for Livity Sound. The partnership of Forest Drive West and Voytek has so far yielded sharply-focused releases for Delsin's Mantis series and Vargmal, finding the synergy between lean, intricate drum & bass and heads-down, experimental techno.

On 'Barossa Dub', the pair pitch down to a half-time, dancehall-angled groove to propel a heavily-dubbed soundscape and system-ready bass. 'Nica' maintains the low-slung swagger while steadily ratcheting up the dread. On the flip, 'Scatter' winds the pressure back up with a punchy broken techno workout that teeters on the edge of breakbeat. 'Hive' opts for a brooding, purring techno meditation that thrives on slow release and intricately crafted sound design, capping off a diverse trip through austere club modernism.

Costas Music returns with its third release after a period of silence, delivering a timeless club-oriented EP from label head Costas, with remixes by Baldo and Youandewan.

It's Me Again sets the tone with rolling 90s-influenced drums, groovy basslines and subtle acid touches, driven by a raw dancefloor energy and atmospheric pads in the breakdowns. Barcelona’s Baldo steps in with a powerful remix, reshaping the track into a peak-time club weapon.

On the flip, Waterphone dives into hypnotic territory with evolving textures and stripped-back grooves built for late-night floors. UK underground favourite Youandewan delivers a distinctive reinterpretation, injecting his signature trippy swing and deep rhythmic flow.

Closing the EP, Drako drifts into cinematic soundscapes and immersive atmospheres, offering a deep and reflective ending to the record.

Deep, acid-tinged underground house with strong 90s influences — crafted for modern dancefloors.

For the first time on LP vinyl, Come Ahead: The Remixes Vol.2 (Dubs) brings Primal Scream’s club-ready reinventions into full analog glory. Originally released in FLAC format in 2025, this second volume dives deep into dub territory, reimagining tracks from Come Ahead with hypnotic grooves and spacious textures. Featuring reinterpretations by Lovefi ngers, Black Science Orchestra, Radio Slave, and Pet Shop Boys (in dub mode), each track pulses with low-end warmth and rhythmic experimentation. From the acid-drenched swirl of “The Centre Cannot Hold” to the narcotic haze of “Innocent Money,” this is Primal Scream at their most psychedelic and dancefl oor-minded. Specially mastered for vinyl, the sound is immersive and tactile — perfect for DJs, collectors, and audiophiles alike.

Eight tracks, nearly an hour of music, and a sleeve that nods to rave-era design make this a must-have for fans of dubwise house and experimental club culture. Limited pressing. Maximum impact. Come Ahead: The Remixes Vol.2 (Dubs) is available as 2LP Black Vinyl.

AN INSTANT CLASSIC FROM ANORAX.

GARDEN OF EDEN becane an instant sensation via white label promotion copy plays,

It instantly picked up support from radio stations Mi-Soul (instant playlist), Panacea, Solar and Starpoint, became Terry Jones breakout record at the recent Southport Soul Weekender and had Modern Soul DJs begging for a copy,

A special reaction to a very special record. Produced by veteran House Heads Phil Hooton and Mark Gamble, the duo have created a monster track that straddles Soul, Jazz and House. Commentator Yogi Haughton highlighted the “ambiguous nature” of GARDEN OF EDEN as it merges Soul and Jazzy House.

The bedrock of the track is a newly recorded (with ace musos lured into the recording studio) version of Mezzoforte’s Iceland jazz-funk classic GARDEN PARTY.
Phil and Mark then composed a brand new composition to go over the top of the track,and to regally complete their new concoction got UK Soulful House royalty vocalist extraordinaire Pete Simpson to sing it. And what a performance Pete delivers!

There’s two equally beguiling mixes - on the a side the 4.37 Vocal Edit V.3 With Horns edit and flip it over for the 4.34 Vocal Trombone Mix - on this 7” single.

First press is 300 copies only.

Saithara were a leading traditional Lanna music group in the Chiang Mai area, led by Chansom Saithara who was named a National Artist in 1996.

Chansom's son, Thepthara Panyamana, fronted the related Saithara "Combo", who explored a range of international pop styles to craft their light-hearted parody tracks in the local "kam mueang" dialect. The lead single here, from 1985, makes use of a well-known German synth-pop song which had become a surprise smash a few years earlier, while the b-side snags a similarly notable power-pop tune from the USA.

Thepthara was also a songwriter and instructor for the child musical group Nok Lae, a Chiang Mai area youth band who became mainstream crossover stars nation-wide. Thepthara passed away in 2017, and Baa Records has teamed with his brother Komsan to license this re-issue in his memory.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

We welcome you to the third installment of Scala. Each new release on Scala Muziek reflects the evolving mindset of its founder. For the third chapter, Pascal Benjamin delivers Soul Extension EP, an exploration of movement, mood, and the subtle shifts that define his sound. A1: Almost Fact sets the tone with taut rhythms and shimmering low-end pulses, balancing tension and release in constant motion. A2: Shift Happens dives deeper into modulation, its warped stabs and filtered delays gradually building a shifting, evolving energy. On the flip: B1: Extension expands into rolling grooves and atmospheric layers, blending vintage warmth with modern precision. B2: Phases closes with a sparse, contemplative mood—fragmented voices and echoes creating a hypnotic sense of drift. Soul Extension captures Pascal at a point where artist and label move forward as one, shaping the next chapter of Scala Muziek’s identity.

Polytechnic Recordings - sublabel of Disctechno Music - presents a split EP of jacking house and psychedelic rhythms from Detroit’s DJ Slush and Dretraxx. Label co-founder DJ Slush follows up his Model Collapse EP with 2 jacking, sleazy, 80's-tinged house tracks with garbled vocal samples on A1 and B2. Dretraxx - head of Detroit’s acid-forward Body Worx party - delivers dubbed out modular grooves and on A2. On B1, Interdimensional Transmissions’ BMG remixes Dretraxx for the No Way Back Mix, with some freaky heart-pumping analog techno. Recommended for fans of Midwest rhythms.

Oliver Koletzki Releases Twelfth Studio Album 12

The beautifully crafted twelve-track opus is out now via Stil vor Talent.
Berlin-based artist, DJ, producer and Stil vor Talent co-founder Oliver Koletzki today releases his twelfth studio album, “12” — a deeply considered, emotionally rich long-player that marks the next chapter in a career spanning more than two decades at the forefront of electronic music. The album is out now on Stil vor Talent in digital formats and as a 2x12” gatefold vinyl.

Serving as both a milestone and a manifesto, “12” distils Koletzki’s evolving sound into its most refined form yet. Across twelve tracks, the album explores atmosphere, restraint and emotional clarity, balancing slow-burning club energy with introspective storytelling. It’s a record shaped by experience, patience and an unwavering attention to detail; qualities that have long defined Koletzki’s output as both an artist and a label curator.

The journey begins with album opener “Petrichor”, a quietly powerful introduction built around wistful organ chords that gradually unfold into a warm, hypnotic groove. Acting as the album’s emotional threshold, the track sets the tone for what follows: music that rewards immersion, thrives on nuance and unfolds with deliberate pace. From there, 12 moves seamlessly between introspective moments and more direct dance floor statements, always guided by Koletzki’s unmistakable melodic sensibility.

Singles released in the lead-up to the album offered carefully sequenced glimpses into its breadth. December’s “Trip With Me”, a collaboration with Frida Darko, brought playful energy and sharp modern club dynamics, while January’s “I Don’t Need Your Love” delivered a confident, emotionally charged statement rooted in Koletzki’s introspective yet club-ready DNA. February’s “Petrichor” revealed the album’s cinematic depth, followed by “Schnapsidee” in March — a track that leans into groove, character and subtle eccentricity.

Elsewhere on the album, tracks like “Logic”, “It’s All Gone” and “Tick Tick” showcase Koletzki’s ability to create tension and release through finely balanced arrangements, while “La Hora de Mosquitos” and “Calle Sur” hint at the global influences that continue to shape his sound. The closing stretch — from “About the Fox and a Tiger” through “What Remains” to “Voice or Noise” (with Frida Darko) — brings the album to a reflective, yet characteristically playful conclusion.

As a whole, “12” feels purposeful and cohesive, guided by a clear narrative arc rather than fleeting trends. It reflects the maturity of an artist with nothing left to prove, yet still driven by curiosity and a desire to evolve. Much like Koletzki’s previous albums, “12” stands as a self-contained world, inviting listeners to step inside and stay.

Released on Stil vor Talent, the album also reinforces the label’s ethos of artistic freedom, quality and long-term vision. Now over 20 years strong, the imprint continues to shape contemporary electronic music while remaining deeply rooted in underground culture: a balance Koletzki himself has embodied throughout his career.

Following the launch of FABRICLIVE’s new chapter with his inaugural artist release ‘Model Collapse’, Sully returns with a heavyweight remix package led by Basic Rhythm, alongside a brand-new track, ‘Proof’.

Originally the first release on the revived FABRICLIVE label, ‘Model Collapse’ set the tone for its forward-facing vision. Here, Basic Rhythm reworks the track into a stripped-back, bassbin-driven weapon - a dubplate turned anthem already making serious impact on the dancefloor.

On the flip, Sully delivers new track ‘Proof’, inspired by conversations with Basic Rhythm around his approach to drums.

Closing the EP is the original ‘Model Collapse’, the club hit that launched the label’s new era and continues to resonate.

Following the celebrated reissue of Classics Vol. 1, Metroplex unveils Model 500 - Classics Vol. 2, a powerful new collection of essential works from Juan Atkins--pioneer of Techno and architect of some of the most forward-thinking electronic music ever recorded. Bringing together key cuts, rare mixes, and long-sought favorites from across Atkins' groundbreaking output, this compilation highlights the full spectrum of his sonic universe: deep, rolling machine funk, shimmering electro-techno hybrids, and timeless futurist grooves that helped shape generations of electronic artists. Each track has been carefully remastered to enhance its original energy while preserving the raw spirit and space that define the Model 500 sound. From expansive, atmospheric journeys to soulful vocal transmissions and Detroit-powered rhythmic science, Classics Vol. 2 presents Juan Atkins at his most inspired--an essential document of a visionary whose influence continues to echo across dancefloors worldwide. Three decades on, these tracks have lost none of their immediacy, imagination, or futuristic pull. Restored for a new era, Classics Vol. 2 celebrates the legacy of Model 500 with pristine sound and renewed force. Pure Detroit heritage. Eternal future music.

A few words for the album
Moment’s Aeternity:
a 12/8 composition celebrating the raw power of the “moment”, marked by whirling improvised moments between drums, bass clarinet and Harris P’s Armenian duduk.

Pajko, fire in the forest on the mountain:
in Sokratis own words: “I have a really vivid memory as a child. I was staring at the Djena mountain from my window in Archangellos which sits on the Pajko mountain. A little beam of light shone far in the horizon; it was a fire that in my little eyes looked as if the giants of Almopia were trying to communicate with each other using phryktoria (a way of contacting through fire in Ancient Greece).”

Footprints of some Giant Steps:
While the classic compositions of two true Jazz Giants- Wayne Shorter and John Coltrane- are certainly different, they do both connect in a mystical way. Rearranged in 5/8 combining half of each melody and half of each one’s chord progression, keeping the form of the piece for improvisation, still in 5.

Oson Zeis Fainou (Seikilo’s Epitaph):
found in a tomb stone in the Northeast of Greece, this is the only melody saved from the ancient times. It is accompanied by lyrics contemplating the meaning of life:
Ὅσον ζῇς φαίνου
μηδὲν ὅλως σὺ λυποῦ πρὸς ὀλίγον ἐστὶ τὸ ζῆν τὸ τέλος ὁ xρόνος ἀπαιτεῖ.
‘’While you live, shine
don’t feel blue for anything because our life is short and time demands an end.’’

Here is to Oghene K:
’’Hey man, where is the groove?’’, he would say, just to trigger another wave of inspiration for Sokratis. Oghene was a true force of nature, a well of kindness, a masterful artist that left this world too early. This one is for him.

Balkan Riff (for Milcho Leviev):
Milcho Leviev (1936-2019), was a long-time friend and collaborator and a true inspiration for expression, creativity and colorfulness. Expressing the deep sentiments evoked by the Balkan sound and history, this is a sorrowful dialogue between bass clarinet and contrabass.

Spirits of Djena:
one of the most esoteric and personal moments of the album. Composed and recorded during the challenging times of the COVID-era, you can hear the baritone and tenor saxophone firmly grounded on a crispy, hypnotizing contrabass groove.

Sokratis Votskos Quartet
Kostas Anastasiadis / Giorgos Klountzos - Chrysidis: Drums
Leandros Pasias: Piano
Vaggelis Vrachnos: Contrabass
Sokratis Votskos: Soprano Saxophone, Bass Clarinet and Compositions


Sokratis Votskos is a jazz saxophonist, clarinetist, composer, educator, and bandleader from Greece. Deeply invested in unearthing the folk sounds and heritage music of Greece and Eastern Europe, he weaves these into modern jazz compositions though the use of melodies, polyrhythms, and his reedy, timeless tone. He leads the Sokratis Votskos Quartet, he is one half of Kolida Babo and member of the Reggetiko Project. A highly regarded sideman and ensemble player, he has worked extensively with renowned jazz musicians with several highly acclaimed releases (MiC, Jazzman, Walt Disney and now Fair Weather Friends Records).

He has performed his music in numerous venues and festivals worldwide from Vinterjazz in Copenhagen, to the EFG London Jazz Festival where he performed at the legendary Ronnie Scott’s alongside Greg Foat.

He is also an archaeoacoustics researcher and enthusiast, having completed his Master studies on the field of ancient ritualistic caves of Greece research.

Leandros Pasias was born in Thessaloniki, Greece. At age 10 was introduced to piano, continuing his studies at the Modern Conservatory of Thessaloniki and later at the Conservatorium van Amsterdam in the department of jazz piano.Ηe holds a classical harmony diploma and a BA at the Department of Music Studies at the Aristotle University of Thessaloniki. In 2020 he received jazz improvisation lessons from Aaron Parks.

With a series of appearances in multiple international jazz festivals, Leandros has collaborated with a wide range of musicians from Nicolas Masson and James Wylie to Marina Osk, Ivo Papasov and Haris Lambrakis, among others.

A member of the Yako Trio, he released “OdesSea” on Fair Weather Friends Records (2021).

Vangelis Vrachnos was born in Thessaloniki, Greece, in 1989. While he started playing the bass at the age of 12, alongside his brother, his studies would commence a few years later. Introduced to double bass at the age of 23, he undertook jazz double bass studies at the Codarts Αcademy of Rotterdam. He has participated in several festivals such as the Technopolis and Odessa international jazz festivals. Since returning to his hometown, in 2015, he has been a founding member of Mordana and Yako Trio and has collaborated with a series of musicians like James Wyllie, Sokrates Votskos and Dimitis Agelakis, among others.

Kostas Anastasiadis is a tireless researcher, that has been diligently studying Tradition and its evolution, creating a fresh amalgam of sound moods. His mature improvisational virtuosity highlights a uniquely individual artistic expression and was recognized with the ̈Unique Individual Stylist" award by the PIT (Percussion Institute of Technology) in Los Angeles, California. He has been associated with various ensembles that have garnered significant interest in the global music scene. As an educator, he is the founder of "The Harmony of Rhythm" musical method, which aims to explore and establish the elements that constitute the concept of rhythm.

Giorgos Klountzos-Chrysidis was born in Thessaloniki in 1991. Following studies at the Modern Conservatory of Thessaloniki, he moved to France and the Conservatoire de Nice. With performances at well-known festivals like Nice Jazz Festival, Nuits du Sud and Jazz à Vienne, he had the opportunity to meet the American drummer Leon Parker, who encouraged him to move to Paris, where he spent the next two years under his tutoring and guidance.

In 2016, came a defining moment in his career as he traveled to New York for the first time. He participated in the quartet of saxophonist Diego Rivera for a series of performances and attended lessons by Rodney Whitaker and Randy "Uncle G" Gelispie at Michigan's State University.

Collaborations include Xavier Davis, Ricky Ford, Nicolas Masson, Diego Rivera, Craig Bailey, Baptiste Herbin, Marc Abrams, Pantelis Stoikos, Antonis Anissegos, David Lynch, Ziad Rajab and Ivo Papasov, among others.

The second volume in a survey of the modern jazz & hard-bop scenes that emerged in the new cultural melting pot of post war London, with recordings from the end of the 1940s through to the early 1960s.

Featuring representations from players whose roots lay in the East-End's jewish community alongside a wealth of talent of Caribbean and African descent playing and recording in post war London during this period.

Made in partnership with the Barbican to coincide with the exhibition Postwar Modern: New Art in Britain 1945-1965.

Walter G & Jay Caruso deliver a warm, groove-led Soulful Disco version of “From East To West”, built for DJ’s who appreciate real disco dynamics. Rolling basslines, bright piano chords and lush strings wrap around an emotive vocal, creating a timeless club-ready moment that bridges classic 70s soul-disco with modern dancefloor aesthetics. Ben Liebrand delivers a classic 12-inch reconstruction rather than a modern nu-disco vibe. It leans into Ben Liebrand’s signature extended format philosophy, letting the groove breathe. His is a rhythm-first reconstruction with crisp percussion, dynamic low-end and long instrumental sections. The vocal sits naturally within the groove, while the arrangement allows DJs space to build, ride and transition with ease. Less modern sheen, more heritage authority, a purist disco tool with timeless floor appeal.

Cello player and electronic artist Martina Bertoni returns with her 2nd album for Karl: Hypnagogia delivers six new, masterfully crafted tracks between experimental ambient, drone and modern composition.

Cellist and composer Martina Bertoni started playing the cello at a very young age. Classically trained, her career further developed around experimental and film music, for which her cello has been featured in numerous records, works and soundtracks for films and series. After two EPs and her debut full length All The Ghosts Are Gone (2020), Bertoni joined the Karl roster where she released Music For Empty Flats in January 2021 to critical acclaim (a.o. one of the Top Ten drone albums of 2021).

On her new album Hypnagogia she continues to explore the sonic possibilities of her cello which she uses as primary source for composition and sound processing through reverbs, feedbacks and sub-bass frequencies, thus crafting sonic sculptures, rich of atmospheres and frictions, fed by ambient as much as drone and modern composition.

In the words of Martina Bertoni:
"The six tracks that constitute Hypnagogia have been written during 2021 and partially inspired by the reading of Stanislaw Lem's book Solaris. The title refers to a transitional state of consciousness from wakefulness to sleep, during which one might experience sensorial hallucinations and lucid dreaming, and can tap into the pristine structures of the subconscious. Hypnagogia portraits an imaginary cosmic journey of the Self that crash ends into a blinding sun."

AO (Trascendental Amor Organization) appears with a five-track EP for Modern Obscure Music's Trip-Vapor-Club Focus Series, released as a vinyl-only edition. The record aligns with the series' ongoing interest in club music as an experimental framework, following releases by Pedro Vian and Actress.
Drawing from techno and electro without committing to their functional codes, the EP explores rhythm as texture and acidic repetition as inquiry. Pulses are skeletal, surfaces are unstable, and melodic fragments emerge only to dissolve back into noise and space. The tracks suggest movement without instruction, privileging sensation over utility.
Minimal in format yet dense in implication, the EP positions the dancefloor as a speculative zone-sound designed as much for close listening as for physical immersion.

Some words from Nat about the music – “For this recording I composed some songs using more “exotic” (for want of a better word) modes,
which I have always meant to explore in more depth but never really got around to very much. The first song for instance, Red, Gold & Green, uses an Ethiopian scale.
The title comes from the colours of the Ethiopian flag, which is also symbolic in Rastafari so has a kind of double meaning, like a lot of my songs.The title track, Path of Enlightenment, uses several modes,
starting in a major key then moving to the Phrygian mode, then to a minor key. The piano solo is in a 28 bar minor blues form. Menat is based on a mode of the Byzantine scale,
I’m not sure if it has a particular name or not. Amenhotep was the name of several Egyptian pharaohs,
Amenhotep IV being the original given name of Akhenaten.When I was writing this song it put me in mind of my song, Akhenaten, simply because they are both in 5/4 time,
so I decided to give this one a pharaonic name too. Spheshile is a Zulu word (and sometimes name) that means “beautiful gift”, the title was suggested by a friend from South Africa.
All this means nothing of course if the music doesn’t tell a story, I think the unfamiliar modes allowed us to speak of interesting things that may not have come to us otherwise.
Finally, I chose to use the quartet format for this recording because it occurred to me that it tends to make for a more cohesive group sound, and it had been a while since we recorded this way.”

G.A.M.O. (Gods Against Man's Oppression) recounts events leading to Napoleon Da Legend transformation after being bestowed a metal helmet, which is a weapon against our modern dystopia. The album features a blend of soulful and dystopic grit featuring the likes of Vinnie Paz, Goretex, General Steele, Skyzoo, Passport Rav, Nejma Nefertiti, Innocent?, SKAM2?, Eloh Kush, CF, Dontique and more. It has production from Dub Sonata, Maitre D, Homage Beats, Passport Rav Proffeny and Napoleon Da Legend. The result is 23 tracks that blend retro-sci fi "Noir Wave" and modern Boom Bap. It features an exclusive 2 page comic illustrated by UK's Dan Lish. Limited to 300 copies only.

Boogie Vice & N-You-Up Return to Definitive Recordings with 'Decadisco EP'

Definitive Recordings continues its run of forward-thinking house releases with DEF2603, the new four-track 'Decadisco EP' from Boogie Vice and N-You-Up. Following their 2025 collaboration 'Come On Closer', the duo returns to the label with a fresh collection of groove-driven club tools that balance modern energy with classic house foundations. Recent releases on sister label Get Physical Music further underline the duo's strong creative momentum.

Boogie Vice is a French DJ and producer known for his groove-led house sound that blends funk, soul, and percussive club energy. With releases on labels such as Get Physical, Rekids, and Definitive Recordings, he has built a reputation for warm, dancefloor-focused productions supported by tastemakers worldwide. Now based in Cape Town, Boogie Vice has expanded his creative work into film scoring and executive production, adding new depth to his already rich musical palette.

N-You-Up, Southern France native Nick, brings decades of DJ experience and a deep-rooted love for jazz, funk, and disco. Formerly known as The Beatangers, he now channels those influences into a refined house fusion under his N-You-Up alias. Alongside Boogie Vice, his collaborative releases have appeared on labels such as Nervous Records and Get Physical Music, with their joint productions receiving support from key artists including Solomun, Dennis Ferrer, Jamie Jones, Pete Tong, Laurent Garnier, Radio Slave or Mita Gami, firmly establishing the duo as a reliable source of dancefloor-ready house music.

The EP opens with 'Game Concept', a driving house cut built on percussive drums, a rolling classic house bassline, and catchy vocal samples. Dreamy, deep synth chords float above the groove, creating a hypnotic yet energetic opener. 'Wurkin Like Dat' follows with a disco-infused house vibe, stacking groove upon groove as vocal snippets and disco elements take center stage, delivering pure dancefloor momentum. Rounding out the EP are two DJ-focused versions of 'Wurkin Like Dat'. The Invasion Tool strips the track back into a flexible club weapon, while the Drumapella isolates the rhythm and percussion, offering maximum versatility for creative mixing.

With 'Decadisco EP', Boogie Vice and N-You-Up once again showcase Definitive Recordings' ability to deliver modern house weapons that honor the genre's past while pushing the sound firmly forward.

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

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

Gute Neuigkeiten für Good Riddance-Fans! Nach sehr limitierter Verfügbarkeit der Erstauflage (schwarzes Vinyl) gibt es noch eine Nachpressung. Die zweitauflage kommt als Apple Red Vinyl. Die aus Santa Cruz, Kalifornien, stammende Band ist eine feste Größe in der Punkszene und bekannt dafür, die Lücke zwischen rasantem Skate-Punk und der rohen Intensität des Hardcore zu schließen. Sie werden für ihre ,intellektuelle Aggression" gefeiert, einen einzigartigen Sound, der rasante Drum-Geschwindigkeiten und scharfe Gitarrenriffs mit überraschend eingängigen Melodien verbindet. Für neue Hörer repräsentiert die Band den Goldstandard des Genres und beweist, dass Punk unglaublich schnell und aggressiv sein kann, während er gleichzeitig musikalisch ausgefeilt und technisch präzise bleibt. Über ihre klangliche Strahlkraft hinaus dient die Band als wichtige Einführung in die aktivistischen Wurzeln des Punkrocks. Unter der Leitung von Sänger Russ Rankin tauchen ihre Texte tief in Themen wie soziale Gerechtigkeit, Tierrechte und politische Kritik ein und bieten eine viel tiefgründigere Perspektive als typischer Alternative Rock. Durch die Auseinandersetzung mit klassischen Alben wie "A Comprehensive Guide to Moderne Rebellion" können Fans genau hören, wie Punk als kraftvolle Stimme für Marginalisierte und als engagierte Plattform für die Infragestellung des Status quo dient. Die Relevanz der Band ist nach wie vor ungebrochen, seit 2015 ungebrochen zurück, das letzte Album kam 2019, 2024 veröffentlichten sie "No More System to Believe In", eine melodische Punk-Hymne, die moderne Desillusionierung in einen kraftvollen Aufruf zum Handeln kanalisiert. Nach einem strapaziösen Tourplan für 2025, bei dem sie neben ausverkauften Clubkonzerten in Europa und Nordamerika auch auf großen Festivals wie dem Hellfest und der Warped Tour Orlando auftraten, zeigen sie keine Anzeichen einer Verlangsamung. Im Jahr 2026 wird Good Riddance diese globale Dynamik mit umfangreichen Auftritten auf Festivals in der EU und insbesondere in Deutschland fortsetzen. Aufgenommen mit Bill Stevenson (Descendents) im The Blasting Room.

Esbe returns to Cold Busted for a phenomenal new four-track EP, Sunset Girl. With previous releases on Dusted Wax Kingdom and Cult Classic, as well as his acclaimed Bloomsday and Late Night Headphones albums for Cold Busted, the Los Angeles-based multi-genre beat-maker is riding a wave. Sunset Girl is another exciting moment in Esbe's musical progression. The release starts quietly with the gentle, muted piano chords of "Special." A sparse hip-hop beat and subdued melodic layers round out the tune, cutting away to reveal a lonesome vocoder vocal. "Again" is as close as Esbe gets to a pop song, as a carefree male vocal and twinkling pianos ride over a crisp, solid rhythm track. More delights await on "Sunset Girl" with its simple piano line, reverby percussion hits, distant sax solo, and splashes of vocal collide in a sonic daydream. "I Want Love" closes things out on a vintage flavor, with echoes of a mid-century school dance reverberating into a modern day beat battle. Potent vibes all around.

Following the release of the dreamy and bewitching darkwave debut single “Mirror Twin”, Harsh Symmetry announces the release of a full-length debut Display Model on Fabrika Records, home of Selofan, Lebanon Hanover, and She Past Away, whose own Doruk Öztürkcan mixed and mastered the LP. With a vocal style reminiscent of Cocteau Twins collaborator Cinder (This Mortal Coil, Cindytalk), and Ian McCulloch of Echo & The Bunnymen, Harsh Symmetry’s Julian Sharwarko is the epitome of old-school and post-punk and goth, capturing a vision that perfectly matches his sound, while physically resembling his music forebears to the point where he looks like he just stepped out of a copy of Smash Hits circa 1983. Hailing from Sacramento, California, Sharwarko’s love of music began at the tender age of 8, with parents who influenced his early music tastes by playing the music of Siouxsie and The Banshees, The Birthday Party, Iggy Pop, Depeche Mode, and Bauhaus. David Lynch’s work also made a profound impact on his style, specifically the short film The Grandmother.

Carmy Love is mainstay of the Big AC Records label by now with the likes of 'Rebel', 'Together Again' and 'Thinkin Bout You' all establishing her sound. Here she embodies a love of, or certainly respect for, Southern Soul here with a bog and bold stomper that has brassy horns and loose tambourines backing a lung busting vocal that is powerful and emotive. It's a track that has an authentic old school sound but with modern production heft. Flip it over and you'll find the equally magical 'Together Again' which is a slower sound that sinks in deeper and with more pain.

Despite its tragic breakup, Yugoslavia as a political, social and cultural phenomenon still inspires generations, especially those who were born or lived at the time of this utopian land of South Slavs. Those who didn’t enjoy the privilege are still amazed by its 1970s and ’80s music scene and the number of very modern, high quality acts that were so often ahead of their time. Two such acts were Data and The Master Scratch Band, both founded by Zoran Jevtic and Zoran Vracevic, who introduced synth-pop, breakbeat, and hip-hop music in Yugoslavia in 1984 with their releases: SP Neka Ti Se Dese Prave Stvari/Ne Zovi To Ljubavlju and miniLP Deogut (Jugoton). Our latest release, “It Was Ridiculous, It Was Amazing!” gathers their earliest unreleased material from 1981-1983, showcasing a broader range of genres – alongside synth-pop and breakbeat/hip-hop, they also experimented with industrial, EBM, minimal synth, and electro-funk!

The whole record is divided into two parts: on A side there are 7 previously unpublished songs by group DATA, and on B side there are 4 previously unreleased recordings by The Master Scratch Band.

The Data side opens with two unexpected “shocker” tracks: Ja Nisam Kao Ti” (eng. I am Not Like You) and “Izumi” (eng. “Inventions”) from 1981, where they sound like early Deutsch-Amerikanische Freundschaft with unusual vocal pan sound effects on Serbian lyrics and uncompromising synth-based sound. Equally unpredictable are the next two songs: atmospheric “España” and dusty “Damage In My Head,” where Zoran Jevtić boldly steps into the lead vocal role. But the surprises don’t end there. The next two songs, France and Strahovi (eng. “Fears”), bring a mysterious and nostalgic atmosphere, elevated by the irreplaceable sound of the modular Roland System-100M. At the end comes the greatest surprise of all: Data covers YMO-Ballet in a song called Ne Zelim Da Tako Zive (eng, I Don’t Want Them Living Like That) and puts some extra energy in rhythm without losing the original song’s sensibility. Like in the original, the lyrics are tender and yet mysterious and provocative.

The Master Scratch Band side contains the very first versions of the songs Break War, Jailbreak, and Computer Break, originally recorded in studio Druga Maca in Belgrade in 1983. These versions were not released on their mini-LP album Dégout (Jugoton, 1984), and they are actually the first ever hip-hop/Breakbeat recordings in Yugoslavia. With great enthusiasm, every sound was uniquely crafted from scratch using the finest analog gear available in the early ’80s. The two young artists, aiming for international success, chose to write their lyrics in English. The album’s final track, “Mad Scratch,” showcases their talent for creating impressive sound effects, which would be a delight for contemporary DJs and producers who specialize in sampling and scratching old-school hip-hop.

This release is truly a “100% digger’s gem” – 11 previously unreleased tracks from legendary pioneers of electronic, hip-hop, and breakbeat. A collection to discover, enjoy, play, and treasure forever!

The fifteenth album by Stevie Wonder, originally released in October 1972. As the second of five consecutive albums which made up Stevie's classic period, Talking Book found Wonder at the top of his game, combining tight song writing with warm electronic arrangements and effervescent vocal performances. Released in 1972 and sandwiched between the release of Music of My Mind and Innervisions, Talking Book saw the then 22 year-old Wonder enjoying more artistic freedom from Motown, taking over the production reins and playing most of the instruments himself. As a result, the sound of the album is sharply defined by Wonder's exquisite keyboard work, and his use of the Hohner clavinet model C on Superstition became widely regarded as one of the definitive tracks featuring the instrument. Despite making the majority of Talking Book himself, the album also benefits from the talents of guest guitarists Jeff Beck, Buzzy Feton and Ray Parker, Jr who featured on Maybe Your Baby and Lookin' For Another Pure Love.

Delsin is pleased to announce an extensive compilation series combing through the catalogue of landmark Dutch techno label Djax-Up-Beats. The series, curated by Rush Hour co-founder Christiaan Macdonald, launches with a look at the label's legacy in the development of acid music through the 90s. In total, this first entry in the Djax-Up-Beats 1990-2005 series comprises 20 tracks, presented as a main triple-vinyl album plus two additional 12" EPs. This first additional EP brings four tracks, by Dutch pioneers Spasms and Random XS, and Chicago heavyweights Mike Dearborn and Gene Hunt. Crucially, every track featured on the series has been carefully mastered by Johanz Westerman, bringing the best out of tracks that often had very little post-production treatment before they were originally pressed to wax. With five more, equally extensive, volumes to come in this series, Djax-Up-Beats 1990-2005 is a thorough exploration of a true totem of techno culture - a renegade label that operated on its own terms and carried surprises and slammers in equal measure.

Fiat Lux return with Desire & Belief, their third album of new material this millennium, following their acclaimed comeback LPs Saved Symmetry and Twisted Culture. The trio—Steve Wright, Will Howard, and David P Crickmore—combine modern production with vintage synths and instruments rooted in their Polydor-era beginnings to craft ten tracks that span cinematic atmospheres, synth-pop anthems, and moody electronica. Tracks like "Clear Sky " and "Turn Me Around" offer hook-laden synth-pop, while "Summer Solstice " and "Am I Dreaming " delve into ambient and darker tones. Desire & Belief is a natural progression for Fiat Lux—retaining the spirit of their 1980s Northern roots in synth, goth, and indie, yet confidently stepping into new sonic territory for long-time fans and new listeners alike. RIYL: Blancmange, OMD, Scary Thieves, Tears For Fears

Dompe Delivers Peak-Time House Energy on New Reload EP.
Definitive Recordings welcomes a brand-new three-track EP from Dompe, showcasing his unmistakable blend of classic house foundations, driving grooves, and modern club attitude.

Dompe aka Dominic Wagner is a DJ and producer driven by relentless passion and an instinctive feel for the dancefloor.
Known for pairing distinctive vocals with finely crafted basslines and arrangements, his sound is always moving forward while staying rooted in house tradition. Based in Berlin since 2011, Dompe founded Jackfruit Recordings in 2017 as his personal creative playground, releasing a steady stream of music that has earned both national and international attention. His doublevinyl album ‘Hippie Crack’ sold out quickly and charted strongly on Beatport, followed by ‘French Collection’. In 2025, Dompe made his debut on Definitive Recordings with a standout remix of the label classic ‘Let It Go’ by John Acquaviva, Olivier Giacomotto and Dan Diamond further cementing his connection to the imprint.
Now returning with a full EP, Dompe opens with ‘Reload’, a classic house groover built around a tight rhythm, a looping piano motif, and a chopped, repeated male spoken-word vocal that locks into the groove. It’s raw, hypnotic, and instantly effective on the floor. ‘Wave’ shifts into more percussive territory, drawing on classic tech house energy. Built almost entirely around drums, the track evolves through rolling percussion, catchy vocal snippets, and sharp house synth work before snapping back into a full percussive drive designed for late-night momentum. Closing the EP, ‘Sundown’ delivers a no-nonsense house stomper. Big 909 drums, a 90s-inspired piano theme, and a vocal sample declaring ‘ecstasy’ capture the peak-time feeling of a packed club
in full flow: direct, euphoric, and unapologetically house.