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2026 Repress

Mutual Rytm welcome back Swiss DJ/producer Chlär for a bustling, high-octane return as he unveils his latest six-track EP, 'Intrinsic Drive'.

Swiss artist and mastering engineer Chlär's last outing on Mutual Rytm, his 'Optimized Grooves' EP, was a standout success that made an impact far and wide across the techno realm. It was another big step for the fast-rising producer, who is also a dexterous DJ that plays across three and even four decks in the club. A craftsman of sounds, his take on techno is full throttle and has come on labels like Iceland's NIX and Stranger's Self Reflektion imprint. Always looking to improve his sounds, he hits a perfect sweet spot with a fresh and visionary approach across six fresh productions with his 'Intrinsic Drive' EP, again showcasing exemplary creative progression in his ever-impressing production skills.

Up first is 'Dopamine Rush', a quickened techno pumper with synths peeling off the straight-ahead drums and locking you into a state of hypnosis. The title track 'Intrinsic Drive' is a tightly woven mix of drums, hits and bass that never lets up, while the supple rhythm is overlaid with alien sound designs to up the intensity. 'For Marco' takes a heavier path with darkened and more weighty kick drums under eerie synth loops. There is a real swing in the drums of 'Steady Pace' as the crisp hits and vocal fragments all up the ante, before 'Greedy Man' delivers a tough panel beater with skewed synths and an industrial undertone. Digital bonus 'May I Dance?' rounds things out with raw textures and unhinged loops that take you to the heart of a strobe-lit dance floor, shaping up another
mighty fine statement of intent from the ever more vital Swiss native.

Techno legend Cari Lekebusch debuts on Mind Medizin with an 8-track double pack of underground Techno.

Stockholm-based sound architect Cari Lekebusch has helped to shape the sound of the underground over the last two-plus decades. He has long been at the heart of his native scene alongside peers such as Adam Beyer and Joel Mull and heads up his own H. Productions label while also serving up his timeless sounds on cultured outlets such as Drumcode and Planet Rhythm.

Opener 'Mind and Matter' opens with quick, compelling drum programming and trippy synth details peeling off thebeats. Muttered vocals bring a dark intensity as the percussion also adds layers of tension. The fantastic 'Freakout' isanother classically inclined and linear techno banger with thudding kicks and futuristic synth lines weaving in and outof the beats. There is no let-up in the pressure with the excellent 'Ninguno es Uno' keeping it deep, driving and late night, this time with squelchy acid lines adding character. 'Heritage' shuts down with a hypnotic blend of shimmering
cosmic synth lines and pulsing deep techno drums that keep the mind and body fully locked in.

This second half kicks off with 'Cause and Effect', a bustling blend of scuffed-up kicks and snares, glitchy hits and jangling synth sounds that bring great looseness to the driving grooves. The funky 'Handkante' delivers flailing percussive patterns and wisps of synths that spit out of the mix next to a drunken synth lead. 'Strulgubbe' keeps the pressure on with more muscular drums, this time underpinned by darker bass and unsettling synth twangs. The fantastic closer 'Tuli Taivaalla' offers up a serene sound that is backed with sustained chords and marbled with edgy vocals.

Have you ever been to Miyazaki? It’s a prefecture on Japan’s southern island of Kyushu, facing the Pacific. Palm trees. Humid subtropical climate. This is the home of Maple Fyshh, a musical artist whose late-80s/early-90s recordings have been collected and reissued here. Liberated by the advent of 4-track cassette home recording technology, inspired by a love of 60s pop oddball production mavens like Phil Spector and Joe Meek, as well as American hot rod and surf music, these Maple Fyssh songs glow with an outsider’s love of the transformative power of newly-available sound technology, allowing him to pull his inspirations across decades and oceans to his 1990s Miyazaki home studio. The tracks here are a d.i.y. dream-pop wonderland, compiling songs from his first LP “Mariko” and second LP “Dokitto Station!!”, both self-produced, both released in 1995. The A-side of this release features tracks from the concept album “Mariko”, a masterpiece of daydream pop introspection, recorded in 1994-95, inspired by a poem submitted to a manga magazine. The B-side features tracks from “Dokitto Station!!”, slightly earlier recordings that draw inspiration from a range of 60s pop including girl groups, surf music and acid folk. All the music here demonstrates Maple Fyshh’s deep understanding and appreciation 60s pop moves, and also his mastery of the limited technology at his disposal.

Remastered in 2024, the sound of Miyazaki has been reborn for a new audience. Available on Vinyl LP and download, with a DL card, English/Japanese lyrics and entertaining and informative English/Japanese liner notes by the artist.

“Artifact” by Novo Line makes a departure from his Atari ST fueled FM synth journeys, here reimagining the soundtrack of our collective memory. Born from a live performance at a listening festival in Berlin by the Camp Cosmic crew, this LP transforms universally recognized pop anthems, beckoning listeners into a kaleidoscopic realm of sound, where familiar melodies fracture and our brains attempt to reconstitute them.

Using era-consistent equipment – turntable, 12″ maxi singles, classic samplers, and iconic drum machines – Novo Line deconstructs and reassembles songs etched into our cultural DNA. From the soaring emotions of “I’ve Had the Time of My Life” to the disco beat of “Heart of Glass,” these are melodies that have scored countless lives, now reborn in startling new forms.

Recorded live to tape, ‘Artifact’ doesn’t just play; it unfolds like an auditory hallucination. It taps into the deep emotional reservoirs these songs have built over decades, twisting familiar refrains into new shapes. One festival goer recollected that it uncovered “the dark inner universe of Kenny G, suddenly splayed out into a whole new cosmos.”

As the needle traces its path, ‘Artifact’ peels back layers of shared musical experience. It’s an aural alchemy that transmutes the known into the profoundly strange, yet achingly familiar. Listeners may find themselves adrift in a sea of frequencies, where every warped note triggers a cascade of personal and collective memories.

Rooted in the “copyriot” tradition of 1980s punk and industrial scenes, “Artifact” challenges notions of authorship while celebrating the universal language of pop. It doesn’t merely suggest a trip – it becomes a journey through the very fabric of our shared musical consciousness.

Mastered by Rude66, cut by Helmet Erler, and pressed at Objects Manufacturing.

Formed in Edinburgh in 1992, The Kaisers set out to bring the excitement and joi de vivre of the early ‘60s beat era back to the Scottish music scene. Armed with junk shop guitars and tiny amplifiers, they quickly gained a reputation as one of the country’s most exciting live bands, belting out forgotten rock ‘n’ roll gems and their own period-perfect compositions with unsurpassed rawness. As their fame spread, they were soon firing their beat salvos at audiences from America to Japan. The broadcasting authorities took notice and radio sessions for John Peel, Mark Radcliffe and many others followed, both at home and abroad. The Kaisers released seven albums plus many singles and EPs – all on vinyl and always in mono. One EP was recorded during a particularly wild night at New York’s famous CBGB. Although their records featured plenty of the good-humoured sonic violence that their fans craved, heartfelt yet visceral ballads were never off the musical menu. After a 13 year hibernation, The Kaisers returned to the stage via the festivals circuit and continue to appear at festivals across Europe. The resurgence of interest in the band has led to the writing and recording of a brand-new album ‘More From The Kaisers’, due for release on the 28th of June, 2024.

2024 Repress

Mutual Rytm is back with more searing techno, this time in the form of a welcome return to wax from venerated Aussie mainstay Shane Yates, aka Alpharisc.

Melbourne's Alpharisc has been making music since 1993, initially with humble tools like the Commodore 64 and Amiga 500, before putting together and building a growing collection of hardware. He has always maintained a somewhat reclusive character since breaking through with the city's renowned Wetmusik party and label collective following the release of his first EP in 1999 and has always kept a nostalgic touch in his music alongside his signature Alpharisc sound. Following a string of digital EPs on the likes of Future Retro Music, this is his first vinyl 12" in two decades as he returns to Mutual Rytm following his appearance on the Federation Of Rytm II compilation, serving up his bustling 'Ram Face' EP.

The powerful 'Formation Filter' opens up with a powerful techno groove built from rock-solid kicks and rumbling bass that will rattle walls. Snares and synth rolls peel off the drums as they race onwards and grow ever wilder and more intense for maximum destruction. 'Circus Fear' is another stylish linear workout with lithe synth details and loopy drums peppered with coarse claps and hits to up the ante, while 'Hot Morning' brings even more fire with its big, churning percussive clatter and supersized hi-hats racing along over more bulky beats.

Things get more unhinged with the hard-edged 'Ram Face', which has pummelling drums and scraping hits forming a barrage of industrialised sound; a lead from a SID chip will bring a smile to those who are familiar with its sound playing a hypnotic lead over the top. The final track on wax, 'The Old One', builds up cosmic tension, haunting synth lines and howling solar winds into another peak time techno weapon. As always with the label, a digital bonus cut 'Hairyman' provides a special treat and delivers another frosty techno roller with pent-up energy and compelling drum programming.

On 24th May, 2024, the exact day of its Golden Jubilee, Diamond Dogs will be issued as a limited edition 50th anniversary half-speed mastered LP. The first single from the album, ‘Rebel Rebel’, reached number 5 in the UK and the album would also reach similar heights on both sides of the Atlantic reaching number 1 in the UK and number 5 in the USA.



This new pressing of Diamond Dogs was cut on a customised late Neumann VMS80 lathe with fully recapped electronics from 192kHz restored masters of the original master tapes, with no additional processing on transfer. The half-speed was cut by John Webber at AIR Studios



The writing of the album was influenced by Bowie not being able to secure the rights for a theatrical production of George Orwell’s 1984 and the work of William S. Burroughs, whom Bowie had interviewed for Rolling Stone in November 1973. The songs on the album created an urban apocalyptic scenario with Bowie appearing on the cover as a controversial half-man, half-dog hybrid painted by the Belgian artist Guy Peellaert from photos by the world-renowned photographer Terry O’Neill. Since its release, tracks from Diamond Dogs have been covered by artists such as Beck, Tina Turner, Duran Duran, Def Leppard, Joan As Police Woman, Dead Or Alive and The Struts.

Holeg Spies’ 7th album BRAVE NEW WORLD is a new step towards his creation of an immersive sound world intermixing his various music influences. The album features collaborations with YOUTH (Killing Joke, The Orb, producer of Pink Floyd and The Verve), well known Dub producer GAUDI, renown Australian percussionist RIP VAN HIPPY, psychedelic dub artist KUBA and French Goa-trance pioneer THIERRY GOTTI (Spectral/Blue Room).

This unshackled album escapes all classification, getting lost in the confines of Electronic, Progressive Rock, Dub, Ambient, Symphonic and Psychedelic music.

French trail-blazer electronic artist, Holeg’s 30-year music exploration has taken him from the early days of techno productions to composing music for films.

Touring Europe and Japan, where he was regularly invited to perform thanks to JUNO REACTOR, Holeg crossed paths with his first filmmaker, the notorious TAKASHI MIIKE, for whom he made an audiovisual remix of one of his most famous films, ICHI THE KILLER in 2001.

His film music duo SAVAGE & SPIES created the soundtrack for the cult classic THE HUMAN CENTIPEDE, BLACKSITE, a $15M thriller by the producers of SICARIO & JOHN WICK and ABRUPTIO starring Oscar-winner JORDAN PEELE. Released on Liquid Sound Design in 2021, his latest opus AXIS MUNDI RELOAD was based on personal immersive journeys in the steppes of Mongolia and among the Hopi tribe in Arizona and features collaborations with YOUTH as well as JAIA and DF TRAM.

Kinn turns the Post-Rock continuum inside out with his sophomore album, Dogtooth.

Shifting focus between his present self and his misled teenage years, 'Dogtooth' sees London born and raised sound art graduate Fred Lomas contemplate the vulnerability of youth, addiction and suicide as Kinn. Unabashed in their creative ambition, Kinn's tongue-in-cheek 'dread-voyeurism' is underpinned by a palpably sincere vulnerability that seeps through their dynamic and rewardingly dense records.

An insight into Fred's formative years can be unraveled from his nickname "Dread", originally given to him by his parents. Growing up in North London as a 'constantly out of the house' youth, Fred only had eyes on any counterculture he could find to defy the city's notorious empty capitalist centric mainstream culture, skateboarding, graffiti, and terrible punk bands which would only last 1-3 rehearsals (max). As a teenager he experienced the notorious 2011 Tottenham riots, which is often referenced in the artist's output and greatly informed their sensibilities. Barely an adult, he was confronted first hand with concepts of constant hostility and corruption which were seemingly welded to his surroundings, corruption formed by high rises and international political scandals taking place only a short journey away.

Even today, Dogtooth reflects on this contrast of community and anger and surmises it to be part and parcel of modern metropolitan life, looking to peel away the bad looking for meaning, comfort and ways of goofing off amidst oppressive forces, sirens and snake oil salesmen everywhere.

COVERED - Our focus is to support the scene, keep the vinyl alive and uncover young and new talented artists!

That`s why we launch the second release with a massive four track EP from the young and talented Lyon FR Born and Based - Garouda.

Amir has been playing drums since his younger years. His releases are influenced by jazz, 90's house / techhouse and hip hop. He is a member of the renowned label Y.A.R Records and has released alongside legends such as: Sweely, Aladdin, Funkroid, Jhobei ...

The love for MPC is certainly audible in every track ;)

Keep your eyes peeled for our further releases and thanks for your support!

Charlotte de Witte takes charge of her KNTXT label's 15th release with the new Universal Consciousness EP. It comes after Amazingblaze - Venture EP and features four more powerful and psychedelic techno cuts.

Charlotte is soon to be playing her biggest ever KNTXT party in mid April. It shall take place in her hometown of Ghent and see her play a historic 10 hour set to a vast crowd of people who shall go on an all night long journey. Also in April, Charlotte returns to London’s iconic Printworks for the first time in five years, this time with her KNTXT concept and once again is set to raise the roof. While staying busy on the road, she continues to curate the Apple Music x KNTXT page while cooking up ever fresh sounds in the studio. This latest EP is another subtle evolution in her signature style.

Says Charlotte of the EP, "following up on my latest Asura EP in September, I decided to delve a bit deeper in the world of psychedelia. All the tracks of the EP are psy inspired, some more than others. I’ve been playing these tracks for a while now in the clubs. It’s been a real pleasure to see the crowd’s reaction and see the amount of track ID requests online. This one is from me to you, I hope you enjoy my Universal Consciousness EP!"

Opener 'Satori' is dark and heavy. The chunky, raw drums hit hard and flat as the squelchy acid synths pan about the mix. An enchanting middle eastern vocal wail brings an extra trance-inducing element that is sure to lock in the hearts and minds of the crowd. The super 'Kali' is a slick and high speed piece that shows the love relation between psy trance and techno. The video game style synths peel off the groove next to alien sound effects, and the subtly evolving acid line burrows deep into your brain.

Then comes the dynamic, bouncy and acid laced-title cut ‘Universal Consciousness’. It's a fulsome tune with rubbery kicks and visceral 303 loops that will melt the mind as dancers fall into its hypnotic and tripped out spell. Last of all is 'Ahimsa' with its bright, lashing acid synths and hammering kick drums. It's the perfect mix of physical groove and psyched-out synth work, and is perfect for both sweaty basements and vast main rooms alike. When the mystical flutes come in, it takes things to another level entirely.

This is another all consuming EP of innovative techno from Charlotte de Witte.

Charlotte de Witte's mighty KNTXT label rolls on with another big new EP from Italian wonderboy Alignment. The Berlin based techno talent serves up four suitably supersized cuts that follow on from his Time EP, which landed earlier in the year.

For the last five years, this artist has been amassing a fine discography of thrilling techno. This has earned him a worldwide reputation amongst the techno cognoscenti, and despite the global
pandemic this year, he has still put out plenty of red hot new material that proves he has used his extra free time at home wisely. He can do old school inspired bangers as well as refined futuristic techno rollers with equal style, and proves that once more with this fantastic new EP.

He says it, “reflects more the ‘sentimental' moments during these hard times. Nevertheless, you can also expect trippy and hypnotic vibes that will make you dream to dance again until the early hours.“

While Charlotte adds, "Ever since I started playing these tracks, people started asking for track IDs. They stood out and always were one of the highlights of my sets. These tracks are made to
destroy any type of dancefloor. A true masterpiece by one of the most exciting artists around.”

Opener Nothingness is a hunched over techno power-groove, with high pressure kicks and scraping synths peeling off the drums. It's a big wall of irresistible sound, then Injection brings
even bigger and more kick drums that are sure to rattle any club to its foundations, while the rave synths will get hands in the air.

Reverberated keeps up the good work with a more all-consuming techno cut thanks to the laser-like synths that light up the track from above. It has superbly dark and unsettling vocals stitched into the groove for extra layers of mental intensity. Last of all is the dark and urgent Sensory Deprivation with its edgy synth motifs and unrelenting energy.

These are four more high powered tracks from man of the moment Alignment.

green vinyl / full colour sleeve / incl dl. code

Klute, a.k.a. Tom Withers is no stranger to the LP format, Whatever It Takes is his 9th solo album. It was recorded over a period of 18 months in his own PBJ Studio, located in Suffolk.

Whatever It Takes contains Klute's signature blend of Drum & Bass, Hardcore, Jungle, House, Techno, Electro & Ambient stitched together with Klute' typical disregard for the rules of each genre.

Split into two halves, the album begins in high gear with 8 tracks of Drum & Bass. A rich pallet of D&B styles delicately layered with hidden depths and melancholic harmony. The album then shifts into Klute's own brand of House Techno & Electro, fully revealing his vivid tapestry of musical influences. The end result is highly original, individual and unique. Nobody sounds like Klute.

Klute on the album: "...with so much going on in the world and all the noise created by a growing instant culture I felt compelled to retreat into my own imagination and write individual chapters in melody and rhythm as a form of distraction and personal remedy. Early on in the process I made a conscious decision to make a wholly solo and instrumental record - the first time since my debut album CASUAL BODIES in 1998".
"There's something powerful in the mystique and imagination of music, closing your eyes and letting your mind and body loose to create its own visions. I feel that there is a lot of "surface" music around at the moment that physically dictates what you are supposed to feel. The music I love the most, the music that stays with me the longest is always the stuff that enters my subconscious state."

"Whatever It Takes" is an album for the long haul, to stand the test of time. Take your time, switch off your phone and listen and keep coming back for more.

Facts on Klute: Over the past 25 years Klute has established himself as a leader not just in the world of Drum & Bass but the entire Electronic music spectrum, counting a diverse range of luminaries amongst his fans, including the likes of Goldie, Laurent Garnier, Sasha, Mary Ann Hobbs, Doc Scott, Lee Burridge, Zane Lowe, Nastia, Andrew Weatherall, BT, and the sadly passed Marcus Intalex, David Bowie and late great John Peel.

Klute continues to tour the world as both an in demand DJ and drummer and singer in his hardcore band The Stupids.

Reclaiming her original moniker of Kittin, electroclash pioneer - formerly known as Miss Kittin - presents Cosmos, a continuous twelve-track LP of organic, leftfield electronica due 2 November on Dark Entries. Throughout her illustrious career, Kittin has carved a considerable niche for herself, assimilating references from New Wave and 90s techno to form an inimitable sound that resonates with electronic music fans the world over. Despite being most recognizable with 'Miss' before it, Kittin was in fact her original artist name - the prefix often added without her consent at promoter's will and eventually becoming the norm.

Cosmos is her most spiritual release yet, influenced by her time in the French countryside after a bout of touring exhaustion. She gives up any formulas from her past; verses/chorus, pop or club beats, to come to the essence of chords and textures, peeling away the non-essential to find joy in music yet again. In retrieving her chosen name from more than 20 years ago, Kittin also returns to the essence of her musical journey. By liberating herself from the constraints of formal structure she opens the door to a new set of aesthetics, exploring her influences without restraint. Sonically, the voice acts a central instrument, whilst the album drives continuously forward with no breaks, paying homage to her love for ambient and electronica whilst wandering calmly into the unknown. 'With Cosmos everything is energy. We go back to the core with curiosity and freedom.' - Kittin

Burns with brothers Brian and Ewan Mcfie at Glasgow School of Art in the early 1980s. Drawing comparisons to Simple Minds, U2 and R.E.M, their post-punk sound attracted attention from John Peel who aired their single Too Late in 1984. The band signed to A&M and released Real Surprise in 1985 which became a BBC Radio 1 Single of the Week. However, like many bands of the time, their recording deal collapsed. For decades, all that remained were those two singles and a box of unreleased demos. During lockdown, the band revisited the tapes, finally bringing a remarkable lost chapter of Scottish post- punk back to life. In 2025 the band decamped to Beetroot Studios in Airdrie with producer Stuart MacLeod to work on new material. Rhythm of Lies is released by Last Night From Glasgow on blue vinyl and CD. This album is a must have for new and returning fans alike.

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

The Fall war eine englische Post-Punk-Band, die 1976 in Manchester gegründet wurde. Die Band existierte seither in wechselnden Besetzungen fort und war im Wesentlichen um ihren Gründer und einziges konstantes Mitglied, den verstorbenen Mark E. Smith, aufgebaut. Obwohl die Gruppe anfangs der Punk-Bewegung der späten 1970er Jahre zugeordnet wurde, durchlief ihre Musik im Laufe der Jahre etliche stilistische Wandlungen; sie zeichnet sich jedoch häufig durch einen rauen, gitarrenlastigen Sound sowie den wiederholten Einsatz von Repetitionen aus und wird stets von Smiths unverwechselbarem Gesang und oft kryptischen Texten getragen.

Die Band ist bekannt für ihre enorme Produktivität: Sie veröffentlichte über 25 Studioalben – eine Zahl, die sich mehr als verdreifacht, wenn man Live-Alben und sonstige Veröffentlichungen hinzurechnet. Über eine Handvoll kleinerer Hit-Singles in den späten 1980er Jahren hinaus blieb ihnen ein breiter kommerzieller Erfolg zwar verwehrt, doch konnten sie sich eine treue Fangemeinde mit Kultstatus bewahren. Die Band pflegte über lange Zeit eine enge Verbindung zu dem BBC-DJ John Peel, der sie bereits früh in ihrer Karriere nachdrücklich unterstützte und The Fall als seine Lieblingsband bezeichnete – mit der berühmten Begründung: „Sie sind immer anders; sie sind immer gleich.“

Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York.
By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne alongside his brother, David-Ivar. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks.
Under this moniker he has recorded well in excess of 100 albums, collaborated with the New York Antifolk scene on numerous occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.
Freschard grew up in a farm in French Burgundy. Aged 18 she moved to Paris, where she baked pies and cakes in a cafe. There, a local musician and regular customer called Stanley Brinks wrote a few songs for her to sing. Homeless in Paris, she saved up just enough money to get herself a ticket to New York. There she found an old electric guitar and started writing her own songs. In 2004 she moved to Berlin, where she recorded her first LP, "Alien Duck". Her second album, "Click Click", recorded in 2006, features electric guitar by Stanley Brinks. On her third album, she plays the drums herself. On her fourth “Shh...” she also plays the flute, and she breaks out the washboard on her fifth “Boom Biddy Boom”. Press for Stanley Brinks and Freschard.
“an absolute joy.” Q.
“...a set that’s as wistful and charming as it is playful and self-concious.” Uncut.
“quietly charming” Pitchfork.

Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York.
By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne alongside his brother, David-Ivar. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks.
Under this moniker he has recorded well in excess of 100 albums, collaborated with the New York Antifolk scene on numerous occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.
Freschard grew up in a farm in French Burgundy. Aged 18 she moved to Paris, where she baked pies and cakes in a cafe. There, a local musician and regular customer called Stanley Brinks wrote a few songs for her to sing. Homeless in Paris, she saved up just enough money to get herself a ticket to New York. There she found an old electric guitar and started writing her own songs. In 2004 she moved to Berlin, where she recorded her first LP, "Alien Duck". Her second album, "Click Click", recorded in 2006, features electric guitar by Stanley Brinks. On her third album, she plays the drums herself. On her fourth “Shh...” she also plays the flute, and she breaks out the washboard on her fifth “Boom Biddy Boom”. Press for Stanley Brinks and Freschard.
“an absolute joy.” Q.
“...a set that’s as wistful and charming as it is playful and self-concious.” Uncut.
“quietly charming” Pitchfork.

As We Once Were is the third studio album from twice Welsh Music Prize nominated artist and producer The Anchoress (aka Catherine Anne Davies) - This new record is the long-awaited follow-up to the UK Top 40 album The Art Of Losing and features an all-star cast of guest vocalist, including Mercury Music Prize nominees Hannah Peel and Welsh-Cornish musician Gwenno, long-time collaborator James Dean Bradfield from Manic Street Preachers also contributes vocals and electric guitar on 'Throw Over Your Man' - a song inspired by the love letters between literary legends Virginia Woolf and Vita Sackville West - and newcomer Eaves Wilder (Secretly Canadian) duets on 'Damsels' The Art Of Losing received wall-to-wall critical plaudits upon its release in 2021 and scooped up a raft of Album of The Year nods from The Sunday Times, to Prog, to the Mail on Sunday. With Sir Elton John naming it "one of my favourite records of the year" and Caitlin Moran calling it "the inadvertent, beautiful and truthful soundtrack to this moment", it went on to sell over 10,000 physical copies via the power of word of mouth.

As We Once Were is the third studio album from twice Welsh Music Prize nominated artist and producer The Anchoress (aka Catherine Anne Davies) - This new record is the long-awaited follow-up to the UK Top 40 album The Art Of Losing and features an all-star cast of guest vocalist, including Mercury Music Prize nominees Hannah Peel and Welsh-Cornish musician Gwenno, long-time collaborator James Dean Bradfield from Manic Street Preachers also contributes vocals and electric guitar on 'Throw Over Your Man' - a song inspired by the love letters between literary legends Virginia Woolf and Vita Sackville West - and newcomer Eaves Wilder (Secretly Canadian) duets on 'Damsels' The Art Of Losing received wall-to-wall critical plaudits upon its release in 2021 and scooped up a raft of Album of The Year nods from The Sunday Times, to Prog, to the Mail on Sunday. With Sir Elton John naming it "one of my favourite records of the year" and Caitlin Moran calling it "the inadvertent, beautiful and truthful soundtrack to this moment", it went on to sell over 10,000 physical copies via the power of word of mouth.

As We Once Were is the third studio album from twice Welsh Music Prize nominated artist and producer The Anchoress (aka Catherine Anne Davies) - This new record is the long-awaited follow-up to the UK Top 40 album The Art Of Losing and features an all-star cast of guest vocalist, including Mercury Music Prize nominees Hannah Peel and Welsh-Cornish musician Gwenno, long-time collaborator James Dean Bradfield from Manic Street Preachers also contributes vocals and electric guitar on 'Throw Over Your Man' - a song inspired by the love letters between literary legends Virginia Woolf and Vita Sackville West - and newcomer Eaves Wilder (Secretly Canadian) duets on 'Damsels' The Art Of Losing received wall-to-wall critical plaudits upon its release in 2021 and scooped up a raft of Album of The Year nods from The Sunday Times, to Prog, to the Mail on Sunday. With Sir Elton John naming it "one of my favourite records of the year" and Caitlin Moran calling it "the inadvertent, beautiful and truthful soundtrack to this moment", it went on to sell over 10,000 physical copies via the power of word of mouth.

With Fuck, Marry, Kill, Tink delivers her most provocative and conceptually sharp body of work to date, firmly reclaiming her position as a premier storyteller in the modern R&B landscape. Moving beyond the diary-entry style of her earlier years, this project utilizes the titular game as a brutal yet honest framework for the complexities of modern intimacy. Tink navigates the chaos of the dating world with a dual-threat precision that few can match, seamlessly blending the grit of her Chicago rap roots with the velvet textures of contemporary soul. Under the executive production of Hitmaka, the album finds its heartbeat in the friction between high-gloss production and raw, unfiltered lyricism.

The album is meticulously structured to mirror the chaotic cycle of urban romance: the adrenaline of fleeting lust, the heavy stakes of long-term commitment, and the inevitable coldness of a bridge burned. In the "Fuck" segment, Tink radiates a lethal confidence, delivering anthems of autonomy and physical desire that demand space in the club and on the charts. As the project transitions into "Marry," she peels back the armor, offering a vulnerable look at the desire for stability and the terrifying leap of faith required to trust a partner. However, it is in the "Kill" section where Tink’s songwriting truly bites; here, she chronicles the aftermath of betrayal and the empowerment that comes from cutting ties, transforming her heartbreak into a weapon of self-preservation.

Ultimately, Fuck, Marry, Kill is a masterclass in "Toxic R&B" that refuses to settle for easy answers. Tink captures the specific anxiety of a generation trying to distinguish between a temporary thrill and a permanent soulmate, all while navigating a world of ghosting and digital infidelity. By leaning into her flaws and her triumphs with equal intensity, she creates a sonic space where listeners feel both seen and vindicated. This isn't just an album about love—it's a survival guide for the heart, narrated by an artist who has seen every side of the game and lived to write the definitive soundtrack for it.

Ltd. Blue Vinyl. Conceived during a period of intense personal crisis, the album tackles many topics from Embury's 2023 autobiography Life?...And Napalm Death, including battles with addiction and mental health. Joining Napalm Death in 1987, Embury is the longest serving member, featuring on 15 of the band's 16 albums. Despite initial bemusement from the media, Napalm Death enjoyed global success, propelled by the support of John Peel. They are credited with the invention of grindcore, an extreme metal sub-genre characterised by ultra-fast songs. In 2017 Napalm Death became the first extreme metal act to play Glastonbury. They have also won Kerrang! and Metal Hammer awards. Embury's several projects include Lock Up, Brujeria, Dark Sky Burial and collaborations include Buzz Osbourne (Melvins), Tim Owens (Judas Priest), Billy Gould (Faith No More), Jello Biafra, Cardiacs, and Yard Act.

In those early conversations, when I laid out the future I sought to create, and recall sharing the concept of a stripped, atmospheric interpretation, supported by the haunting resonance of strings-- cello or violin. At the time, the notion was met with skepticism, perhaps even dismissal. Yet it was an idea I knew would one day take form. It had to. UADA has always drawn from a wide spectrum of influences--many of which extend far beyond the traditional boundaries of black metal. With Interwoven, we sought to peel back the layers and reveal the vastness of these realms; to immerse the listener in both the foreign and the familiar, in textures that challenge and comfort in equal measure.

Seasoned sunset soundtrack label-owner, DJ and composer Mark Barrott returns with new album The Exit Diaries. A constant innovator and master of chillout, the record is a rich, deluxe affair comprising two long-form instrumental pieces that weave together soul, jazz, orchestral composition and electronica. With over three decades of output across multiple aliases, Barrott has carved out an influential space spanning early breakbeat futurism, Balearic folk, orchestral ambient and global electronica. He has earned widespread acclaim from the likes of Pitchfork, Mojo, Uncut alongside radio support from Mary Anne Hobbs, Elizabeth Alker and Hannah Peel. His new album ‘The Exit Diaries’ features two movements: side one, ‘Light Variations’, is inspired by “Sunday tunes” - a warm, slow-unfolding soundtrack of soul, Alice Coltrane–esque textures and gentle synths, elevated by the fluid drumming of Leo Taylor (The Invisible, Floating Points, Hot Chip). Side two, The Stone Tape, opens with the sweeping ‘When Devils Become Gods’, before drifting through the ambient landscapes of ‘Quarries’ and the cinematic, emotionally rich compositions ‘The Stone Cutter’s Dilemma’, ‘Land (iii)’ and ‘Closer’. Throughout, Barrott demonstrates a rare ability to transport listeners into deeply atmospheric, meditative spaces, delivering a deeply immersive and quietly profound addition to his catalogue.

‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ NEWLY UNEARTHED EARLY RECORDINGS BY THE FIRST LINE-UP OF MUSICAL YOUTH Mastered from the original tapes by Guy Davie at Electric Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ – an album of rare and unheard early recordings by Musical Youth, the Birmingham reggae group propelled to worldwide fame with the release of their chart-topping single PASS THE DUTCHIE. ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ combines songs from Musical Youth’s first John Peel session, recorded in 1981 with newly unearthed recordings taken from quarter-inch reels stored for over 40 years by the group’s mentor and producer Toney Owens. The project was seeded as early as 2020, when Paphides sent a speculative message to Owens, after he saw his producer credit on the group’s independently released 1981 single Generals/Political. Paphides wanted to know if Owens had made more recordings of the group in a similar heavier roots reggae vein to those on their debut single. Happening upon the message by chance three years later, Owens allowed Needle Mythology access to his archive of quarter-inch tapes, dating back as far as 1978. The recordings gathered together on ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ shine a light on the exceptional musicianship inculcated into the group by their first frontman Frederick Waite, formerly singer with revered Jamaican rocksteady group The Techniques. Backing Frederick Waite in the early lineup of Musical Youth (originally billed by Toney as Cultural Musical Workshop Youths, were two pairs of brothers) Patrick and Junior Waite, and Kelvin and Michael Grant.

The Debut LP released by Cardinal Fuzz (UK) & Feeding Tube Records (USA). Presented in a hand stamped metallic copper ink (front and back) print on a black card sleeve with insert. Recorded during downtime but sounding anything but casual, Celestial Power emerged when Dead Sea Apes’ Brett Savage and Chris Hardman linked synaptic overload with Cardinal Fuzz’s own Dave Cambridge to form a three-headed amplifier cult. Heavy, raw, and deeply resonant, this is music that embraces volume, repetition, and the beauty of imperfection. What they’ve summoned is a sprawling liturgy of overdriven guitar mantras: brutal, blown-out, and gloriously repetitive. Imagine the Velvet Underground locked in a warehouse mainlining the kosmische pulse of some forgotten Krautrock commune while Bardo Pond’s ash-coated spirit hovers overhead, scattering embers into a storm of PSF-style amplifier abuse. Not so much songs as tectonic events. Not riffs, but rituals. This thing doesn’t purr it howls. You hear the room breathing. You hear amplifiers gasping as they’re pushed past mercy, past design, into some ecstatic mechanical breakdown. Every repetition drills deeper, pushing beyond the horizon line until time itself starts peeling back in sheets. And that’s the point. This is repetition as revelation. Volume as transcendence. Human hands wrestling raw electricity into shape, then losing control of it entirely. On “Mandate Of Heaven,” the circle widens with the arrival of Nik Rayne (The Myrrors), adding another dimension to the ritual, a desert prophet stepping into the feedback storm, pushing the album’s gravitational pull even further into the void. No compromise. No softening. No edges filed off. Just pure voltage, scorched earth repetition, and the kind of heavy psychedelic communion that feels less like listening and more like surviving. Step inside. Bring ear protection. Or don’t. 4 Tracks - 42 Minutes.

New from Ulla’s 28912 label comes a gorgeous bouquet of lowercase wonders from Justin Cantrell aka J and the Woolen Stars, part of Picnic, and the brains behind the excellent Daisart and se Dessaisir Publishing labels.

»Puff« is a glistening pool of lush refractions and music-box lullabies, featuring an array of acoustic instruments and fragile foley sounds that are gently peeled away until all we’re left with are the faded outlines of half-remembered songs.

A sound that roots itself in the prophetic machinations of artists like Fennesz and the languid Japanese minimalism of Fourcolour or Moskitoo, »Puff« strikes a delicate balance, sounding as bewitchingly informal as a Tenniscoats set, but also consistently muddling the perception of high and low-brow sound. Cantrell’s skill lies in a sort of sonic conjuration, bamboozling the brains of those of us who grew up listening to stepped-on audio via ramshackle RealMedia streams by alchemising the content, turning found sound into gold. Just tell us you don’t get chills from hearing the bitrate-impaired acoustic guitar on »Dirty like an angel«, set against a backdrop of windy, harmonic detritus. It’s both meticulously contrived and gloriously off-the-cuff, like one of Vincent Gallo’s classic »When«-era demos reduced down to 96kbps.

Similarly, »She knows just what to say« provokes faint memories of folk music, with impromptu fiddle parts gently steamrolled to create a sound that’s nothing short of exquisite, like pressed flowers rediscovered in an old, discarded book. Even the more palpably electronic elements are hand sculpted in a way that belies the era we’re living in - it’s music for a digital age that sounds oddly unplugged, flawed and human. An unmistakably lovely antidote to the opiating nostalgia of our time.

Germany's most exciting new indie voice BROCKHOFF opens a bold new chapter and announces her debut album Easy Peeler, out June 5th 2026 via PIAS Recordings. “Easy Peeler” is the ambitious culmination of BROCKHOFF’s musical coming-of-age journey. It's an album that bridges grunge-laced indie rock and early-2000s pop textures, wrapped in a deeply authentic songwriting voice. It’s a reminder that even when life feels uncomfortable, there’s beauty in being an easy peeler. For Fans of: Modern indie acts Phoebe Bridgers, Snail Mail, Soccer Mommy as well as 90s bands such as Weezer or The Cardigans Tracklist: 01. Easy Peeler 02. The Carpet Song 03. Willows 04. Sunny Day (Deadline) 05. Blue Star 06. Front Row 07. Nothing Can Be Fixed In This Place 08. Dirty Dream 09. Japanese Garden# 10. I've Stopped Getting Chills For A While Now 11. Cruel 12. Sleep It Off 13. It Never Happened 14. Hot Wheels

Das neue Album von Slippers-Mastermind Madeline BB ist ein Meisterwerk. Als hätte man die Beatles mit Sprühdose und Wachsstift bemalt. Das letzte Album von Slippers trug den Titel ,Do You Like Slippers?". Passender wäre ,Do You Like Pop Music?" gewesen. Denn wenn die Antwort auf eine der beiden Fragen ,Nein" lautet, was machen wir dann hier überhaupt?

“Dressed In Black” was curated and annotated by Cathi Unsworth, author of the book Season Of The Witch: The Book of Goth – a woman who considers herself fortunate to have had Siouxsie Sioux, Lydia Lunch and Diamanda Galàs for role models while she was growing up. For further illumination in Cathi’s own words, read on.

“The music gathered here is an aural manifestation of turbulent times, made by women possessed of supernatural abilities. The music I fell in love with emerged from the dark end of the 1970s: The Winter of Discontent of 1978-79, when intractable industrial action left the dead unburied and mountains of rubbish in the streets. All the promise of punk came to a brutal end with the deaths of Sid and Nancy in New York; IRA bombs exploded in central London and a seemingly uncatchable ripper roamed West Yorkshire with 13 murders under his belt. Ill omens that augured badly for the events of 3 May 1979, when Margaret Thatcher became our first woman prime minister. Dressed in blue and ready to whip the country to her heel.

“But at night, malcontent youth were united by forces of opposition, whose dissenting voices were aired across the land on John Peel’s Radio 1 show, set to the sound of slasher guitars, swirling fairground keyboards, loping basslines and percussion that recalled the echo of jackhammers or the march of insect feet. Here, punk’s unruly offspring distilled the dissonance of the times into a new kind of music. Flirting with the fetishist and taboo, drawing upon horror and science fiction imagery, they were the outlaw leaders of the greatest style tribe of the decade: the goths. Dressed in black, these kohl-eyed women voiced the alienation of their generation during the decade of the Cold War, the Miners’ Strike, privatisation and AIDS.

“To make sense of the absurd is genius enough. But to then cast the glamour of sublime music around those insights – I come back to my point about supernatural abilities. I hope you will find illumination within. You know the dress code.”