Cerca:sol

DIVA AS TECHNOLOGY
Arca announces the details of her highly anticipated new studio album, XXXXX, arriving via XL Recordings. Five years after the twice GRAMMY-nominated KiCk i and subsequent KICK pentalogy, the Venezuelan-born musician, producer, vocalist, and visual artist returns with her first full-length album since concluding one of the most ambitious chapters in contemporary music.

If the KICK era expanded Arca's universe outward, XXXXX turns inward and fractures it apart. Across 16 tracks, the album excavates vastly different emotional landscapes to deliver a body of work that is darker, more aggressive, more experimental, and unwilling to settle into fixed form. Initially conceived as a mixtape before revealing itself as an album, XXXXX embraces contradiction as a core methodology. In the spirit of her previous mixtapes @@@@@ (2020)—released as a 62-minute single—and &&&&& (2013), XXXXX thrives on raw exploration and instinct. It arrives as a deliberate interruption of expectation.

“It seems playful, also mischievous, to interrupt that autopilot,” says Arca.

The album's striking artwork depicts Arca as a biomechanical entity, accompanied by two owls—symbols of protection and the underworld in Greek mythology. Like the music itself, the imagery inhabits a space between worlds where transformation is both terrifying and liberatory. Suspended between posthuman augmentation and raw emotion, XXXXX exposes the mainframe. It is a record born from uncertainty, contradiction, instinct, and surrender—a becoming-machine that continues Arca's lifelong project of redefining what it means to be human both in, and against, the machine.

For Arca, rebirth has never been a metaphor, but a practice. She continues to exist in multiple states simultaneously, collapsing boundaries between human and machine, high and low culture, and experimental noise and pop music. Following her first-ever painting exhibition at London’s ICA earlier this year, XXXXX arrives as the latest transmission from a continuously evolving creative process. Over the last year, Arca has remained prolific: unveiling the double-sided single "Puta" / "Sola"; remixing tracks for Addison Rae, Robyn, and Hikaru Utada; collaborating with Tokischa on “Chama”; and contributing production to Madonna’s CONFESSIONS II. She walked the runways and made appearances at major international fashion weeks, while also composing the original motion picture soundtrack for Stillz’s film, Barrio Triste.

Now, after years of transformation beneath the surface, her next musical evolution reveals itself.

After a stellar debut on the No Guestlist label Blay steps back into the light with an ambitious new record Wave Formations. This record finds Blay pushing further into the space where afro-centric jazz and deep house collide, weaving together synth heavy production with organic rhythms and live instrumentation.

From its opening moments its title track ‘Wave Formations’ holds you captive. From field recordings blurring into a dreamy atmosphere, taking you on a 9-minute spiritual journey across the cosmos.

Its counterpart ‘Rhythm Of Love’ is equally dreamy; A reverb-soaked vocal track with live-band-like energy shape-shifts around its steady and forward pushing rhythm before unwinding into a meandering, melancholic piano outro.

On the flipside, ‘New Teacher’ is an invitation to dance — call-and-response synth phrases on top of driving percussive polyrhythms. What starts off simple and stripped down transforms into a full-on celebration; a boisterous rush of sonic afrofuturism that tries to reach the sun.

Keeping the joyful spirit high, the record closes off with the festive and playful ‘Faith In Us’. This highlife and afro funk inspired record reimagines band members feeding off of one another, switching from recognisable motifs to energetic solos pushing each other further into the light.

Ltd pressing, Widespine, black paper inners.

Tectonic Recordings presents Tectonic Sound: Vol. 2, the second instalment of the various artists series curated by label founder Pinch. Following the first Tectonic Sound collection, released in 2025 to mark the twentieth anniversary of the label, the series continues Tectonic’s forward-facing approach; bringing together artists from their wider family and connecting dots across the underground.
Longstanding figures of the UK Bass scene such as J:Kenzo and Roska sit alongside a new gen of artists including Ehua, Manami, Cimm, Denham Audio, Henry Greenleaf and SHXCXCHCXSH. Beatrice M. also returns following the release of their acclaimed debut album Sinking earlier this year, while Jay Carder and Sir Hiss make their first outings as solo artists on the label, after both appearing as collaborators on Sinking.
Pinch says: ““As Tectonic enters its third decade, the spirit and passion behind the music hold true to its roots. I love every single track on this compilation and how it shows off the various corners of the label's sound. Each artist has delivered something truly special!”
Each artist arrives with a distinct sound and history of their own, but across these twelve original tracks there’s a shared understanding of what Tectonic represents. Different strains of the UK bass continuum come together, creating a space where sounds collide, and new forms take shape. 
Pinch leads the charge with ‘Hold On!’, an upfront, high-definition 4x4 propulsion tool that pairs rolling momentum with seismic bass pulses. Manami enters with ‘Turning Point’, further solidifying her newer direction, leaning into deep, dubbed-out territory with a sound that feels both vast and exploratory, while remaining heads-down and locked in. Henry Greenleaf steps in with ‘Whist’, an ominous and otherworldly offering, reminiscent of early dubstep productions that fell somewhere between the lines of dark garage, 2-step and grime.
Elsewhere, SHXCXCHCXSH’s ‘NexxxD’ and Sir Hiss’s ‘2TUFF’ form a middle climatic point of pure chaos, with Sir Hiss serving up a raw slab of gnarled grime waveforms and cascading claps. Beatrice M. & Cimm bring things back down with ‘Pad City’, a cool, meandering cut of shuffling house, while Lorem closes the compilation with ‘Console Corners’, exploring the outer rims of sound manipulation and deconstruction before tying it all together.
Since its formation in 2005, Tectonic has been a trailblazing force in electronic music, helping to define and continually redraw the boundaries of dubstep and its surrounding sounds. The compilation arrives in the middle of a serious run for the label. Earlier this year, Tectonic released Beatrice M.’s debut album Sinking, a major moment for the label that was embraced across the electronic music community. Pinch has also continued his long-running creative relationship with legendary grime MC Trim this year, following their joint 2025 EP No Caller ID, with recent single Striker.
Across Tectonic Sound Vol. 2, those different strands of Tectonic’s history and present day meet head-on. The music moves between familiar forms and stranger territory, with rhythms and frequencies refracting across the collection. It’s a record that feels cohesive without being uniform, reflecting a label whose sound has always been defined by forward movement.

Das bahnbrechende Debütalbum ,Blue Horse" der Be Good Tanyas erscheint anlässlich des 25-jährigen Jubiläums als Vinyl-Ausgabe bei Birthday Cake Records. Das Album wurde im Jahr 2000 in Vancouver mit nahezu keinem Budget aufgenommen, und das Trio aus Frazey Ford, Trish Klein und Samantha Parton verwandelte Old-Time-, Folk- und Country-Blues-Klänge in etwas Unheimliches, Intimes und ganz Eigenes - und gelangte dank der Ausstrahlung im CBC von einer Independent-Veröffentlichung zu einem internationalen Publikum. ,Blue Horse" machte die Band in Großbritannien zu einem Phänomen: 83 Wochen in den offiziellen britischen Country-Künstler-Albumcharts (mit Platz 3 als Höchstplatzierung), ein Platz in den Top 50 der Alben des Jahres des Q Magazine, ein Auftritt auf der Acoustic Stage in Glastonbury und ein Auftritt bei ,Later_ with Jools Holland". Die Zeitung ,The Independent" lobte es als ,eines der bezauberndsten Debüts", während ,The Littlest Birds" zu einem Markenzeichen einer ganzen Generation wurde und später in der Showtime-Serie ,Weeds" zu hören war. Die Musik der Band hat seitdem ihren Weg in epochale Fernsehserien wie ,Breaking Bad", ,The L Word" und ,Hell on Wheels" gefunden. Ein Vierteljahrhundert später ist dies ein lebendiges Werk, kein Nostalgieobjekt: Die Band zieht monatlich rund 510.000 Spotify-Hörer mit über 139 Millionen Streams des Gesamtkatalogs an, und Frazey Fords gefeierte Solokarriere führt immer wieder neue Hörer dorthin zurück, wo alles begann. Gepresst von neu aufbereiteten Vinyl-Masterbändern aus dem Jahr 2026 bringt diese Single-LP-Ausgabe ,Blue Horse" zum ersten Mal seit 15 Jahren wieder auf Vinyl heraus.

Mit ihrem Solodebut "No Human Tongue Can Tell" gelingt Radie Peat eine eindrucksvolle Auseinandersetzung mit der Essenz der Folk Music. Die Sangerin von Lankum zahlt zu den pragenden Stimmen der sogenannten "Irish Green Wave" und verbindet auf diesem Album ihre außergewohnliche Kontra-Alt-Stimme mit tiefem Respekt fur die irische Gesangstradition. Als Interpretin und Multiinstrumentalistin haucht sie uberlieferten Liedern neues Leben ein und macht sie fur die Gegenwart relevant. Die ausgewahlten Songs erzahlen von Liebe, Verrat, ungewollter Schwangerschaft, Gewalt, Verlust und Widerstandskraft. In Stucken wie "The Moon and Stars" oder "Willow Garden" ruckt Peat weibliche Perspektiven in den Mittelpunkt und verleiht historischen Erzahlungen neue emotionale Kraft. Ihre prazise Stimmfuhrung, vielschichtigen Harmonien und sparsam eingesetzten Arrangements schaffen einen Raum, in dem individuelle Erfahrungen zu universellen Geschichten werden. Zugleich versteht Peat Folk als generationsubergreifenden Speicher menschlicher Erinnerung. Die Lieder tragen Spuren zahlloser Leben in sich, und genau diese Verbindung macht sie zeitlos. Atmospharische Stucke wie "Luisne", das melancholische "Same Old Man" oder das historische "Dark Horse on the Wind" zeigen ihre Fahigkeit, Tradition, Geschichte und personliche Interpretation miteinander zu verweben. Ein weiterer Hohepunkt ist "Still I Love Him", das die Ambivalenz von Liebe und Leid beleuchtet und aus einer Geschichte emotionaler Abhangigkeit eine Erzahlung uber Starke und Selbstbestimmung macht. Auch "Bonnie Boy" und das abschließende Triptychon "Cailin Deas" kreisen um weibliche Autonomie, gesellschaftliche Erwartungen und den Wert personlicher Freiheit. So entsteht ein Album, das archaisch und zeitgenossisch zugleich wirkt. Mit großer Empathie, musikalischer Raffinesse und kunstlerischer Eigenstandigkeit macht Radie Peat die Stimmen vergangener Generationen horbar und schafft eine Sammlung von Liedern, die Trost, Erkenntnis und Verbundenheit vermitteln. "No Human Tongue Can Tell" ist damit weit mehr als eine Bewahrung von Tradition: Es ist deren lebendige Weiterentwicklung.

Mit ihrem Solodebut "No Human Tongue Can Tell" gelingt Radie Peat eine eindrucksvolle Auseinandersetzung mit der Essenz der Folk Music. Die Sangerin von Lankum zahlt zu den pragenden Stimmen der sogenannten "Irish Green Wave" und verbindet auf diesem Album ihre außergewohnliche Kontra-Alt-Stimme mit tiefem Respekt fur die irische Gesangstradition. Als Interpretin und Multiinstrumentalistin haucht sie uberlieferten Liedern neues Leben ein und macht sie fur die Gegenwart relevant. Die ausgewahlten Songs erzahlen von Liebe, Verrat, ungewollter Schwangerschaft, Gewalt, Verlust und Widerstandskraft. In Stucken wie "The Moon and Stars" oder "Willow Garden" ruckt Peat weibliche Perspektiven in den Mittelpunkt und verleiht historischen Erzahlungen neue emotionale Kraft. Ihre prazise Stimmfuhrung, vielschichtigen Harmonien und sparsam eingesetzten Arrangements schaffen einen Raum, in dem individuelle Erfahrungen zu universellen Geschichten werden. Zugleich versteht Peat Folk als generationsubergreifenden Speicher menschlicher Erinnerung. Die Lieder tragen Spuren zahlloser Leben in sich, und genau diese Verbindung macht sie zeitlos. Atmospharische Stucke wie "Luisne", das melancholische "Same Old Man" oder das historische "Dark Horse on the Wind" zeigen ihre Fahigkeit, Tradition, Geschichte und personliche Interpretation miteinander zu verweben. Ein weiterer Hohepunkt ist "Still I Love Him", das die Ambivalenz von Liebe und Leid beleuchtet und aus einer Geschichte emotionaler Abhangigkeit eine Erzahlung uber Starke und Selbstbestimmung macht. Auch "Bonnie Boy" und das abschließende Triptychon "Cailin Deas" kreisen um weibliche Autonomie, gesellschaftliche Erwartungen und den Wert personlicher Freiheit. So entsteht ein Album, das archaisch und zeitgenossisch zugleich wirkt. Mit großer Empathie, musikalischer Raffinesse und kunstlerischer Eigenstandigkeit macht Radie Peat die Stimmen vergangener Generationen horbar und schafft eine Sammlung von Liedern, die Trost, Erkenntnis und Verbundenheit vermitteln. "No Human Tongue Can Tell" ist damit weit mehr als eine Bewahrung von Tradition: Es ist deren lebendige Weiterentwicklung.

Seit mehr als drei Jahrzehnten zahlt Jimi Tenor zu den eigenstandigsten Kunstlern der europaischen Musiklandschaft. Der finnische Komponist und Multiinstrumentalist bewegt sich seit jeher muhelos zwischen Jazz, Funk, elektronischer Musik, Afrobeat und experimentellem Pop, ohne sich stilistisch festlegen zu lassen. Mit Wormhole Mystic kehrt er nach einer Phase intensiver Arbeit mit der neu formierten Jimi Tenor Band zu einem Soloalbum zuruck. Ausgangspunkt der zwolf neuen Stucke waren Rhythmus-Loops, die auf Vintage-Drummachines der 1960er- und 1970er-Jahre entstanden und anschließend als Fundament fur die weiteren Kompositionen dienten. Gemeinsam mit Synthesizern, Flote, Saxofon und seiner charakteristischen Stimme entwickelt Tenor daraus ein Album, das vertraute Elemente seines Schaffens aufgreift und gleichzeitig neue Wege beschreitet. Wormhole Mystic unterstreicht eindrucksvoll die anhaltende kreative Neugier eines Kunstlers, dessen Werk bis heute in Bewegung geblieben ist.

Seit mehr als drei Jahrzehnten zahlt Jimi Tenor zu den eigenstandigsten Kunstlern der europaischen Musiklandschaft. Der finnische Komponist und Multiinstrumentalist bewegt sich seit jeher muhelos zwischen Jazz, Funk, elektronischer Musik, Afrobeat und experimentellem Pop, ohne sich stilistisch festlegen zu lassen. Mit Wormhole Mystic kehrt er nach einer Phase intensiver Arbeit mit der neu formierten Jimi Tenor Band zu einem Soloalbum zuruck. Ausgangspunkt der zwolf neuen Stucke waren Rhythmus-Loops, die auf Vintage-Drummachines der 1960er- und 1970er-Jahre entstanden und anschließend als Fundament fur die weiteren Kompositionen dienten. Gemeinsam mit Synthesizern, Flote, Saxofon und seiner charakteristischen Stimme entwickelt Tenor daraus ein Album, das vertraute Elemente seines Schaffens aufgreift und gleichzeitig neue Wege beschreitet. Wormhole Mystic unterstreicht eindrucksvoll die anhaltende kreative Neugier eines Kunstlers, dessen Werk bis heute in Bewegung geblieben ist.

ORUMA is a trio formed by Ola Rzepka (drums, zither, percussion), Artur Rumiński (electric guitar) and Mat Barski (electric guitar). At its foundation is the musical dialogue previously developed by Rumiński and Barski as a guitar duo and documented on the albums “On the Margin” and “At the Junction”. Their encounter with Ola Rzepka during Kraków’s Kakofonie series opened this music to a new sense of dynamics, pulse and
collective form.
ORUMA’s music exists at the intersection of free improvisation, noise, experimental postrock and post-kraut repetition. It avoids the conventional division between soloist and accompaniment. Instead, two electric guitars and drums gradually abandon their individual roles to form a single, constantly shifting sound organism — moving from silence, open space and isolated gestures towards dense masses of sound.
The trio’s debut album consists of five pieces: “Satellites”, “Stranger”, “This Mountain Is Alive”, “A Rough Plan For Nostalgia” and “Hyperborea”. Together, they form a coherent journey: from distant signals and the first moment of contact, through friction and increasing physical intensity, to an expansive fourteen-minute finale.


Ola Rzepka
Drummer, pianist, composer and performer. She graduated from the Karol Szymanowski Academy of Music in Katowice, where she studied at the Faculty of Composition, Interpretation, Education and Jazz. She was also a scholarship student at the Rhythmic Music Conservatory in Copenhagen, studying piano and percussion. She teaches piano improvisation at the Wojciech Kilar State Music School Complex in Katowice and runs her own music lessons and workshops. As a composer, she collaborates with acclaimed theatre directors in Poland, Germany and Switzerland. Her musical collaborators have included Raphael Rogiński and Antoni “Ziut” Gralak. She has performed her original music at numerous avant-garde, popular, jazz, improvised and contemporary music festivals across Poland and Europe. In Jazz Forum magazine’s 2024 Jazz Top critics’ poll, she was named among Poland’s leading drummers.

Artur Rumiński
Guitarist and member of bands including Furia, Thaw and ARRM. He also composes and improvises under his own name and performs in the experimental duo Marmur, which he co-founded with Macio Moretti. He has released several solo albums on labels including Antenna Non Grata, Gusstaff Records, Zoharum and Szara Reneta.

Mat Barski
Guitarist associated with the Kraków and Tricity music scenes. His projects include the duo Ekotonika, the Rumiński / Barski duo. He has released albums through Gusstaff Records and Antenna Non Grata. Alongside music, he works in motion design and visual postproduction. He is a member of the Kraków-based Skład Solny Association, where he coorganises concerts and exhibitions.

Sie ist zurück und lässt sich nichts mehr gefallen! Brandneues Studioalbum von Miss Ludella Black! "Niemand hält mich zum Narren Das ist mein viertes Soloalbum. Wir hatten einen Riesenspaß beim Aufnehmen, wie ihr sicher merken könnt! Ich werde wieder von den fabelhaften Masonics begleitet, und die eigenen Songs stammen aus der Feder von Mickey Hampshire. Wir haben das Album mit der lokalen Legende Jim Riley in den Ranscombe Studios aufgenommen, nur einen Katzensprung von meinem Hausboot entfernt. Das Etta-James-Cover (ich weiß, wie kann ich es nur wagen!) spielen wir schon seit einer Weile live, ebenso wie "Why Don't You Smile Now", das auch auf dem Album Delmonas 5! zu finden ist. Das Gänsehaut erzeugende "You Waster You" lässt euch die Nackenhaare zu Berge stehen und ist auch ein Highlight meines Live-Sets. Meine persönlichen Favoriten sind "I Bear the Scars" und "I'll Get Over Losing You" beide ganz unterschiedlich, aber sehr typisch Ludella! Ich freue mich riesig, diese tolle LP wieder bei Damaged Goods Records zu veröffentlichen, und hoffe, ihr liebt sie alle genauso sehr wie ich!"" - MISS LUDELLA BLACK, Rochester, Kent (August 2026)

Tara Cunningham’s guitar glitch miniatures draw patterns in negative space on new mini-album Warm Ground. Operating predominantly within improvisational and experimental music, guitarist Tara Cunningham has developed a discrete sonic language that reveals the full textural and timbral range of her instrument.

Marking a new chapter for Cunningham that builds on her solo debut, Almost – Not Exactly, released on Non Classical in 2025, Warm Ground unfolds across seven compelling instrumental dialogues - each a conversation of rhythms and found sounds, syncopated and juxtaposed, open to encounter.

Implied by the title of first single ‘Following a Thought’, Cunningham weaves an exploratory melody into the spaces between field recordings. At once introspective and highly relational, each track ushers the listener into a world of different scales, seeking beauty and meaning in the everyday, from the discrete mechanisms of ‘Fridgelight’ to the delicately unhinged organism of ‘Flying Ant Day’.

Cunningham finds a natural home on Odda’s roster of artists sensitive to the details of their materials and surroundings, finding kinship alongside the intimate songcraft of Kirk Barley and Fohn in the gaps between composition and improvisation.

In 2026 she released a self-titled LP as The Sleeves with Jack Cooper, performing at Cafe Oto ahead of a US tour in the autumn. She continues to pursue a range of projects as collaborator and side person with Modern Nature, Sebastian Rochford, Red Snapper, Liam Noble, Laura Jurd and Caius Williams.

Black Sheep is the influential hip‑hop duo from Queens, New York, formed by Andres “Dres” Vargas Titus and William “Mista Lawnge” McLean. Although both members hail from New York, they met as teenagers in Sanford, North Carolina, where their families had relocated. The duo became part of the celebrated Native Tongues Collective, alongside Jungle Brothers, A Tribe Called Quest, and De La Soul, a movement known for its creativity, positivity, and forward‑thinking approach to hip‑hop. After joining forces in 1989, Black Sheep made an immediate impact with their 1991 acclaimed debut album A Wolf In Sheep’s Clothing. The record earned widespread recognition for its inventive rhythms and sharp, witty, often humorous lyricism.

Their second album Non‑Fiction arrived in 1994, continuing their signature blend of jazzy hip-hop and clever, tongue‑in‑cheek storytelling. The album featured two singles “Without a Doubt” and “North South East West”.

Following its release, the group remained largely inactive throughout the decade, with the exception of Dres, who recorded a solo project under the moniker Dres The Black Sheep. Black Sheep eventually returned in 2006 with their long‑awaited third album 8WM / Novakane. Shortly thereafter, Mista Lawnge departed, while Dres has continued to release music under the Black Sheep name.

RADYO BOMBERO - ABOUT THE LABEL
Radyo Bombero is the record label founded by acclaimed filmmaker, author, DJ and record collector Fatih Akin. Born out of his personal passion for vinyl and film music, the label will initially focus on soundtracks from his films: previously unavailable works will be released on vinyl for the first time, while out-of-print titles will return as carefully produced reissues. Its inaugural release is the soundtrack to Akin's new film Geister, scheduled for release in November 2026. Further projects are already in development.

ABOUT THE RELEASE

MALAKOFF KOWALSKI - GEISTER
ORIGINAL MOTION PICTURE SOUNDTRACK
Composed by Malakoff Kowalski, the soundtrack to Fatih Akin's Geister is the inaugural release on Radyo Bombero.
Born in the United States, raised in Hamburg and now based in Berlin, Kowalski is a composer, pianist and multi-instrumentalist whose work moves between film music, contemporary classical composition, theatre and pop. He composed the music for eleven films by Klaus Lemke, as well as for productions including Schweigend steht der Wald and Stasikomödie. His solo work has been released by MPS and Sony Classical, and he has collaborated with artists including 2raumwohnung, Igor Levit, Chilly Gonzales and Nils Frahm. His sound combines elegiac melodies with a warm, cinematic atmosphere and a subtle sense of unrest beneath the surface.

For Geister, this distinctive musical language meets Fatih Akin's vision of a deliberately anachronistic and romantic score: a tribute to Ennio Morricone's great love themes that plays a defining role in the film's tragic love story and atmosphere.
LP 1 contains Kowalski's complete original film score.
LP by JUGGLERZ opens up a second musical world, bringing together four productions by the internationally successful Jugglerz on a four-track 12-inch disc at 45 RPM: the film's title song Ya Mami, performed by Aya Samra; Mood by Cloudee, Milaa and Jugglerz; Tip by Jugglerz, Limitlezz, Maureen and Demarco; and Beirut Nights Riddim. The four tracks bring Arabic tarab and contemporary Levantine pop together with hip-hop, urban beats and dancehall rhythms.

FATIH AKIN ON RADYO BOMBERO
"Radyo Bombero is on the air. Don't miss a tune!
"
Music is - alongside cinema and literature - a fundamental source of inspiration for me. Having grown up in the 1980s, the way I listen to music has hardly changed: I buy records, listen to them carefully and then copy them onto a portable device. It used to be a Walkman, then an iPod - today it is my smartphone with my playlists.
I do not use Spotify or any other streaming services. Why that is, I do not know. In most other areas, I try to keep up with technological developments. Not with music. I like unpacking a record, cleaning it before listening, holding the sleeve in my hands and reading who worked in the studio, who wrote the music and where the record was made. These things interest me. And they lower my cortisol levels.
Music plays a major role in my films. It is not that, as a director, I want to impose my favourite music on the audience. The music must always serve the story. In Head-On, for example, it tells us something about the characters and their biographies. Crossing the Bridge - The Sound of Istanbul is the musical portrait of a city. Its music tells us about the people who live there: where they come from, the cultures they brought with them and how those cultures have merged with local traditions. The Cut was conceived as a Western, and the music had to help reinforce that idea.
Geister tells a tragic love story. The music was meant to be gloriously anachronistic. And romantic. Just like the light and colours, it had to shape the atmosphere of the film. My films are often about cinema itself, and Geister is no exception. Its music is a tribute to Ennio Morricone's great love themes.
In Malakoff Kowalski, I found the perfect creative partner. He immediately understood my idea and realised it brilliantly. That made it all the more painful when I was told by the music industry that there could be no soundtrack release for Geister because soundtracks were too expensive to produce and would simply sit on the shelves.
It is not as though I am a spoiled child who absolutely has to have a lollipop. But this music is simply too good to withhold from the audience. The idea that there would be no soundtrack release felt like a great injustice.
Then several friends and collaborators advised me to release the record myself. No sooner said than done. But Radyo Bombero is not a one-off project. Geister is only the beginning.

Finally, I have the opportunity to gradually release all the soundtracks from my films that have remained unavailable. Soundtracks that were previously released but have since gone out of print will also return as reissues.
Hainbach's soundtrack to Amrum is already in development, as is a double album featuring the unforgettable German pop songs from The Golden Glove. And, finally, a vinyl soundtrack to Head-On.
Fatih Akin

London-based French artist, composer and vocalist Vanessa Bedoret returns with her second
album, About Time, released via Scenic Route.

Across 11 tracks, About Time moves between intimate vocal-led songs, glitching electronics haunting soundscapes and moments of catharsis. Bedoret’s classical training remains at the heart of the record, underpinning an approach that brings together spectral vocals, strings, guitar and experimental electronics with a striking sense of compositional clarity.

Written through a period of significant change in Bedoret’s life, the album explores transition and our shifting perception of time - how some moments disappear almost instantly while others seem to stretch indefinitely.

About Time follows Bedoret’s 2024 debut Eyes and marks a significant step forward for an artist whose work moves fluidly between classical composition, experimental electronics and songwriting. Alongside her solo work, Bedoret has collaborated with Astrid Sonne, Blackhaine , Space Afrika and Mark William Lewis.

2026 Repress

Shak Jackson is a UK female house producer fusing old school foundations with a sharp, tech driven edge. Built on raw piano, rolling basslines, stripped percussion and hypnotic grooves, her sound is raw, functional and unapologetically euphoria focussed. With a growing cult following drawn to her no frills approach and dancefloor instinct, Shak Jackson is steadily carving out her own lane in modern underground house.

A solid 3 track EP for the mighty HOOJ shows off Shak’s talents and helps cement her rise as a future star.

Demarkus Lewis is known for his ability to deliver house music at a deeper level while maintaining the energy that keeps the dance floors moving, Demarkus Lewis has grown to be one of the most respected dance artists in
underground house music today. With just about 30 years of DJ experience he has has traveled and shared his craft with the world over. His music has found its way onto labels such as Large Music,Subtractive, Moods N Grooves, Kolour Recordings, iRecords, Phoenix Recordings, Viva Recordings, Guesthouse Music, Kingstreet Sounds, Pogo House Records, Plastik People, Spacedisco Records and his very own labels Grin Music/Grin Trax (Just too name a few). His cut "Every Night" instantly draws you in and hold keeps you moving using a thick bassline and kick pattern, key stabs and a vocal that binds it all together. The B remix is by Gil Aguilar who takes the dedepness and adds chug. This record sold out fast and there are only a few remaining copies left.

Jnbo ist der Künstlername von Henry Jenkins, einem Komponisten, Produzenten/Toningenieur und Bassisten aus Melbourne/Naarm. Jenkins ist den meisten als Produzent/Toningenieur hinter Surprise Chef, Karate Boogaloo und der für den Grammy nominierten Frollen Music Library bekannt. Als hauseigener Toningenieur für Aufnahmen und Abmischungen bei College In-House-Aufnahme- und Mix-Ingenieur bei Knowledge Records hat Jenkins die klangliche Grundlage für die instrumentale Cinematic-Soul-Bewegung von Melbourne/Naarm geschaffen. Auf ,& Friends" setzt Jenkins seine Fähigkeiten für seine eigenen brillanten Kompositionen ein. Das Album umfasst 12 introspektive Instrumentalstücke - tiefe, cineastische Odysseen, die von Romantik und Aufrichtigkeit durchdrungen sind und jenen unverkennbaren ,Freak Funk Bump" haben. Jenkins erklärt die Konzeption von ,& Friends": ,Ich wollte ein Album schreiben, auf dessen Aufnahme ich mich mit meinen Freunden freuen würde. Die Musik, die ich schrieb, hatte eine Funk-Sensibilität in Bass und Schlagzeug, kontrastiert durch einen eher cineastischen Ansatz in Bezug auf Harmonie und Melodie, mit Gitarren, die sich dazwischen schlängeln und gleiten. Ich habe versucht, diesen Kontrast zum Charakter des Albums zu machen. Ich fand, dass jeder Song die gleiche Instrumentierung und die gleichen Musiker haben sollte. Das wurde zu einer angenehmen kreativen Herausforderung: Wie viel Variation konnte ich im Laufe des Albums aus denselben acht Instrumenten herausholen? Ich wollte innerhalb dieser engen Grenzen so viel Vielfalt wie möglich finden." Jenkins hat diese Prinzipien bei den Aufnahmen zu ,& Friends" angewendet und langjährige Musikpartner wie Hudson Whitlock, Darvid Thor und Callum Riley (Karate Boogaloo), Lachlan Stuckey und Jethro Curtin (Surprise Chef), Lewis Coleman und Lena Douglas (The Cactus Channel) zusammen, um unkonventionelle Arrangements für drei Gitarren, Klavier, Streichersynthesizer, Hammondorgel, Schlagzeug und Bass zu verwirklichen, wobei Jenkins selbst den Bass und die Produktion übernahm. Das Ergebnis ist ein auffallend einzigartiges Album: Mal gibt's malerische Stimmungen, mal funkige Rhythmen, die zum Mitwippen einladen, wobei die drei Gitarren und drei Keyboards genau im Stereofeld angeordnet sind. Das Album zeigt die Einflüsse des Filmkomponisten Bernard Herrmann, des Lounge-Pioniers Les Baxter und Lamont Dozier von Motown, zusammen mit den exzentrischen Eigenheiten von JNBO. Für Fans von Surprise Chef, El Michels Affair, Menahan Street Band, Les Baxter, Bernard Herrmann.

2026 Repress

Assembler Code - We've Felt This One Coming For A Minute Now. After An Unstoppable Run Of Releases Along Side Jensen Interceptor On Labels Such As Cultivated Electronics, Private Persons & Boysnoize Records, Ac Is Finally Flying Solo With This 4 Track Electro Assault Masterpiece 'mental Escape'.

Plugging Into The Title Track 'mental Escape', It's A Rugged Machine Driven Work Out Through Idm & Industrial Landscapes Formulated To Present His Vision Of Futuristic Electro Whilst Still Providing All The Nostalgic Rother & Drexcyian Nods We All Love.

Now That The Tone Has Been Set, 'simulant' Follows Suit. Entering The Celestial Sphere Via Some Haunting Sci-fi Strings, We're Slapped In The Face With Slamming Percussion Followed By A Relentless Acidic Modulated Baseline That Takes Us From One Planet To The Next At Light Speed.

The Journey Wouldn't Be Complete With Out His Old Partner In Crime Jensen Interceptor Coming On Board For A Ride. 'type 2' Is A Classic Case Of Past Meets Present. Scrapyard Industrial Groove Ready To Split Speakers At Your Next Warehouse Party Married With A Selection Of Classic Alpha Sounds To Keep All The Purists In Check.

The Thunder Continues To The Very End. If You're A Tape Saturation Fiend Begging For Your Next 808 Crack Hit, Prepare To Have Your Back Bent In Half With Euphoria As Soon As 'hal's Machine Tool' Is Injected Into Your Ears. In Short, 4 Minutes & 44 Seconds Of Hard Nasty Robotic Electro Booty Sweat.

Aubrey has established Solid Groove has one of the more reliable outlets in the underground and now steps up with his own offering of fresh tracks recorded this year. 'Last Transmission' is a deep techno cut with a shimmering synth line and a subtle sense of hope folded into the futuristic outlook. 'Japanese Drift' is a brilliantly original sound built on a quickly stepping groove with soft electronics and synths infused into the mix. 'The Final Act' ramps up the energy a little more but still stays warm and soft around the edges before 'Diablos Debos' broods with a darker energy, but again stays contained and heady. A tasteful EP.

‘veneration for the sacred action’ is the first compilation release by london-based independent record label ‘lifeis beautiful records’ released in celebration of the three-year anniversary of the label (& the gesamtkunstwerk that it exists within), the compilation brings together members of the life is beautiful septet collective, as well as various collaborators and special guests from previous life is beautiful events of the past three years. it highlights a range of the various solo, group projects, and alias’ of the septet, as well as various artists from the wider orbit of the life is beautiful constellations. the project was executively produced and curated as an album by label founder aloisius, as a selected works of the life is beautiful constellations. it stands as a comprehensive yet intentionally incomplete representation of the past three years of life is beautiful

Subtle Beginnings is the second of the ReKab albums originally released on Móatún 7 to be reissued on vinyl for the first time by System One. Analogue Isolation came in May & sold out everywhere almost immediately

Label head D. Howard first came across ReKab while deep diving through Bandcamp, and like many lovers of deep, late night, soulful electronic music immediately fell for the emotional pads, pristine melodies & immaculate productions, simultaneously summoning up the essence of early 90s electronic while sounding thoroughly contemporary.

They connected and a plan hatched to make the Móatún 7 albums available on vinyl for the first time, something that avid record collector James was delighted about. Unfortunately James sadly passed away late August last year, but following conversation with the family & friends of James, it was decided to honour his wishes & make the albums available on vinyl & across all digital services once again. Proceeds after costs will be paid through to the trust fund set up to support James’ surviving son.

System One is a new label dedicated to soulful electronic music, late night grooves & intergalactic beats, drawing its inspiration from the early 90s techno & ambient sounds of Uk, Frankfurt, Detroit & beyond

A two-way Italian/Mexican stand-off here, as Saint Wax founder Gledd (real name Eduardo Barbi) and Kaninchenbau label chief The Funk District (Fernando Mendoza) deliver their first joint EP since 2022. The latter steps up first with two solo workouts- the Clavinet-splashed nu-disco-goes-bluesy deep house shuffle of 'The River Bends Back' and the Rhodes rich deep house disco of 'Got To Be Alright' - before the duo combine on two collaborative cuts. 'I Said' is a gospel-powered slab of ever-building disco-house hedonism, while 'Down The Middle' is deeper, more bass-heavy and topped off with classic soul vocal samples. Gledd then takes over, following the infectious piano house bounce of 'I Said' with the colourful, acid-flecked excellence of 'Blessin'.

Roland Leesker Remixes Inner City Classic ‘Pennies From Heaven’
Definitive Recordings presents a powerful new remix by Roland Leesker of ‘Pennies From Heaven’, the timeless house classic by Inner City, originally released in 1992.
Founded by Kevin Saunderson, one of the legendary Belleville Three and a key architect of Detroit techno, Inner City shaped the sound of electronic music with global hits like ‘Big Fun’ and ‘Good Life’. With over six million records sold and decades of influence, their catalogue remains a cornerstone of dance music culture.
On his remix, Roland Leesker transforms ‘Pennies From Heaven’ into a driving, floor-focused house weapon. Built around a heavy, straight TR-909 groove, the track gradually introduces elements from the original in a layered, loop-based arrangement.
The remix reaches its peak in a powerful breakdown, where the full main theme and vocals unfold, creating a classic hands-inthe-air moment before dropping back into the stomping groove. The result is a modern interpretation that stays true to the spirit of the original while delivering maximum impact on today’s dancefloors.
Roland Leesker, a long-standing figure in house music, has been active since the late 80s, with roots in Frankfurt’s club scene and later key roles in New York, Berlin, and the global music industry. From his early days at Delirium Records to his work with Get Physical Music and beyond, Leesker has consistently contributed to shaping electronic music culture.
This remix brings past and present together, offering a respectful reimagining of a classic for today’s house music dancefloors. The vinyl release is completed by an additional Acapella Tool on the B-side, offering DJs a stripped-back version focused on the iconic vocal elements of the track — perfect for creative mixing and extended club moments.

SOLAH steps back onto the scene with her second studio album Forever, set for release on 5th June 2026.

Primarily recognised for her soulful melodies, unmistakable voice and down-to-earth artist persona, Forever holds steady onto these qualities, yet finds freedom in straying from expectations. Atmospheric and all-encompassing, the album's list of collaborators spans beyond the UK to the Netherlands, Tokyo, Sao Paulo and beyond - a reminder of drum & bass' global collective identity, and testament to the musical connections and friends in the industry that she has made over the years, since her first album King. 2x12" Gatefold Vinyl - SOLAH's Forever LP is available on sleek double vinyl packaged in a gatefold sleeve, featuring full album tracklist, lyrics and bespoke imagery.

“One foot out the door, another in the otherworld…”
So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in.

Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once.

Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting.

On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I don’t mind… in decline, I take my time…” The album is suffused with moments like this. On slow builder Damaged Melody, an arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a high register singed with the embers of a break up.

In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating on grief, love, pain as she “feels the ache on Sunday…” As the chorus builds and Lew’s call-and-response vocal adds to the emotional tension, it almost feels like too much to take.

Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus that could only come from Hannah Lew in 2026.

2026 Repress

SHDW & Obscure Shape offer up their first EP on new imprint Mutual Rytm as they drop five fresh and expansive techno cuts across their 'Poetic Justice' EP.

A duo that has ascended to become leading names within today's techno landscape, SHDW & Obscure Shape continue to grow and evolve while shaping their own unique sound fusing classic influences with a modern touch. Their latest project saw the birth of Mutual Rytm - a new imprint launched in early 2022 set to showcase a deep dive into the duo's musical roots via their own productions alongside material from the label's close family of likeminded artists. Following the label's opening multi-artist VA and the first solo EP from Berlin's Lars Huismann, June welcomes the first solo instalment from the label founders themselves as they ready a killer five-tracker set to make an impact.

A1 'Turbulence' sets the pace as the duo delve into nimble rhythms which ebb and flow effortlessly to reveal a hypnotic slice of modern techno permeated with classic, old school cues, while 'Pulse' takes up a darker aesthetic, keeping the energy high as metallic drum licks guide driving sub-bass and resonant stabs. On the Bside, title cut 'Poetic Justice' balances warping vocals with swinging percs amongst a layered, drum-laden kinetic
workout, exemplifying the duo's drive for combining and contrasting various shades of techno. Next up, 'Set It Off' welcomes the introduction of expansive melodies to offer an entrancing late-night cut, before turning to the unhurried grooves, salient hats and sweeping atmospherics of 'Killing Me Softly'.

Digital bonus 'Before Sunset' once again delves into lighter, breezy territories while keeping the classic rolling
techno touches throughout, shaping up the package with a powerful yet agile closing production.

Impressive Collective, BBE Music and Mark de Clive-Lowe present: Remixes & Reimaginations World-renowned for decades, Mark de Clive-Lowe is a New Zealand-born, Tokyo-based pianist, composer and producer, widely recognised as a pioneer in nu-jazz, broken beat and electronic music. In contrast to his previous release on Impressive Collective, the contemplative solo project 'past present (tone poems across time)', this collection brings together MdCL’s extraordinary reinterpretations of other artists’ work. As he explains: “Remixing has always meant more to me than just rearranging stems - it’s about uncovering a new reality inside the music.” From the uplifting gospel-house of Close Counters’ 'I’ll Be There For You', recontextualised for the broken beat dancefloor, to the timelessly angelic tones of We Are KING’s ‘Supernatural'; from Omar’s 'This Is Not A Love Song' reimagined almost 30 years later, to the politically charged intensity of Anthony Joseph’s 'Maka Dimweh' - every remix has been crafted with the progressive dancefloor in mind, while still resonating for the deep listener and always in service to the original artist’s essence. “I’m grateful to every artist who’s invited me to dive into their work - to deconstruct it and reimagine it with love, curiosity and respect. This compilation isn’t just a retrospective, it’s a celebration of the remix as an art form.”

LSB returns with his first extended release since 2020 with ‘The Middle’ a 9 track solo project that sits somewhere between the dancefloor and the home, written by a man who feels neither young nor old in a project that's too long for an EP but too short to be an album. The Middle is about that space that feels uncertain and foggy and embraces both anxiety and opportunity that sits within it.

Bassist, composer and arranger Bill Lee (who is the father of celebrated Director Spike Lee) helmed numerous Strata-East projects, but this is the one that most stands apart. The Descendants of Mike and Phoebe is a one-off 1974 album uniting Lee with his siblings Cliff Lee, Grace Lee Mims and Consuela Lee Moorhead under a name that pays honour to their enslaved ancestors. Elements of jazz, gospel, soul and blues are threaded into a work of complexity but spirituality, with nimble, dancing grooves next to more pensive explorations. It's a sought-after rarity from the label's catalogue that has been freshly remastered for this reissue. Essential Strata-East history.

(Orange transparent vinyl, limited edition) Age Of Love's 3 most famous remixes on 1 record: the legendary 1992 Jam & Spoon 'Watch Out For Stella' Mix, Charlotte de Witte & Enrico Sangiuliano's 2021 Remix & Solomun's 2017 remix.


Age Of Love wrote and released their most iconic track in 1990. It went on to become a stone-cold dance classic that inspired a whole trance movement that has endured throughout the years.Now its 3 most famous remixes are available on 1 record: the legendary 1992 Jam & Spoon 'Watch Out For Stella' Mix, Charlotte de Witte & Enrico Sangiuliano's 2021 Remix & Solomun's 2017 remix.

Balaise was the original title of Vers le Nord’s debut album. In French slang, balaise means something in between badass and flamboyant. The word keeps popping up throughout the record, like a teenager’s graffiti scrawled on a bus shelter after a few drinks. Balaise robots. Balaise ghosts lurking in the shadows. Balaise is the barfly who fantasies about becoming a street vigilante. In many ways, Matthieu Pellerin's new solo project is entirely contained within that word: a gigantic piece one man against the world cobbled together, a monument shaped by hand using layers of synthesizers sounding like cathedral organs cast in concrete.


Stitching this type of freak together took time. Five years, or what sounds like forever in an age obsessed with career trajectories and content strategies. But for Matthieu Pellerin, it was never about career plans or taking the easy road. Or he would have dug up the rotting corpse of Oi Boys, his now-defunct band, whose brief existence and explosive popularity once united sullen skinheads, gothic street punks, and old school punks alike. Or he would have fully embraced the Metz scene, now that the Great International Triple Alliance of the East (Noir Boy George, The Dreams, The Feeling Of Love...) and rising solo acts like Tune Zitoune, Josy Bazar, Fantôme Josepha, and Tony Gerrano have somehow transformed this sprawling open-air heroin camp into an unlikely capital of cool. But Vers le Nord doesn't point East, and it is as a lone rider that Matthieu Pellerin can fully reveal his songwriting scope.


With Le Seul Élément, his first solo project, the Lorraine native had already shown a rare gift for crafting worlds. Picture vast sonic masses stretching like industrial zones, noise-filled fog pierced by pale neon lights and landscapes caught somewhere between the gnarliest dive bar and a doomsday bunker. And slipping through the soul-crushing slowness and fractured blackened atmospheres, one could perceive a throwback to his years plotting in black metal-tinged Loth and Bishop.

Vers le Nord populates those landscapes that once were rough sketches. Damaged characters reign supreme, with a plethora of exquisite mutts brought to life, rather than outcasts committed to the cause. Where Nuits Blanches —his new supergroup featuring members of Rixe, Lion's Law, Headbussa and La Femme— pulls no punches with raw confessions, Pellerin switches gear for tales of robot apocalypses, vagrants and fam-seeking school shooters, delivered with William Sheller-esque rhymes and striking images. Yet even within fiction, he manages to create something deeply intimate, almost defining, showing very little effort: he is a natural. All in all, à l’aise (at ease). Songs resonate deeply with the listener, perhaps because of Pellerin’s odd way or always addressing someone without ever really naming them, a floating, obsessive and inescapable “you” calling us out.


Despite all of the darkness, Vers le Nord stirs deep emotions. There is something of Type O Negative or Anna von Hausswolff in its constant collision of the ludicrous and the epic gothic, its bleak romanticism that never tells a sordid tale. While the vocals remain rooted in a distinctly French punk lineage—think No Class, La Souris Déglinguée and OG Bérurier Noir—the reactor core is hidden somewhere else. Oneohtrix Point Never feels like a closer relative with his ultra-emotional music made of cold synths and disembodied anthems, swallowing and regurgitating forty years of icy, contemplative new wave across ten songs. It comes as no surprise that Lila Ehjä and Aimable, two rising specialists in lowering the temperature below seasonal norms, appear on “Enterrez-moi bordel” (“Bury Me, for fuck's sake”), a grandiose, spectral and magnificently arrogant finale. And in the end, Vers le Nord starts where the original idea was hiding all along: somewhere amid the ruins, definitely balaise and yet somehow, completely à l'aise.

Die Band ,The Holy Kiss" aus San Francisco erhebt sich aus dem Grab, um ihre letzte Aufnahme erstmals auf Vinyl zu veröffentlichen. Aufgenommen im Jahr 2009 von Skot Brown (The Phantom Limbs, Altar de Fey) und zuvor auf 50 handgefertigten CD-Rs veröffentlicht, ist ,Gunslinger" ein raues Meisterwerk aus der Blütezeit von The Holy Kiss mit vier Songs, die feurigen Blues mit Blut, Schweiß und einer kräftigen Prise The Birthday Party vermischen. Der Titeltrack der 12", ,Gunslinger", ist ein Cover eines Bo-Diddley-Songs, den die Band so arrangiert hat, dass er ihrem Hang zur melodischen Kakophonie entspricht. Frontmann Matty Rue Morgue singt mit dunkler Sonnenbrille aus tiefster Seele, während ,Schlagzeuger Nick Ott wie ein Riese über einem elfenhaften Schlagzeug thront und die Felle so fieberhaft bearbeitet, dass er eine Selbstentzündung riskiert" (Tatiana Simonian, L.A. Weekly). Das im Jahr 2000 offiziell gegründete, von schwarzem Humor geprägte, altmodische und gut gekleidete Quartett ,erzeugt einen dunklen und auf süße Weise dissonanten Krach, der an Mordballaden erinnert und perfekt dazu geeignet ist, die im Limbus schwebenden Geister der Betrüger, Verrückten, Säufer und anderer gesellschaftlicher Ausgestoßener heraufzubeschwören, über die die Band gerne in ihren schattenhaften, Dickens'schen Liedchen" (Bill Picture, San Francisco Chronicle). Die Veröffentlichung von The Gunslinger enthält außerdem eine Bonus-7"-Single mit Solo-Aufnahmen, die Matty Rue Morgue 2009 gemacht hat - nur wenige Jahre vor seinem viel zu frühen Tod im Jahr 2015. Darauf sind zwei Songs von Matty und ein Song von The Holy Kiss (,Go Head N Count `Em"), die für Solo-Akustikgitarre neu arrangiert wurden. In seiner Version von ,Go Head N Count `Em", gespielt mit Liebe und tiefem Respekt vor der Blues-Tradition, lässt sich Matty gleichermaßen von Lightnin' Hopkins und Lux Interior inspirieren.

One of the most influential dub albums ever made. The remixing techniques used – radically new for 1973 – helped transform the role of the producer and the engineer to that of creative artists in their own right.

First released in Jamaica in December 1972, Upsetters 14 Dub Black Board Jungle is widely regarded as one of the first full-length dub albums and a true landmark in reggae history. Produced by the visionary Jamaican innovator Lee “Scratch” Perry, it marks the decisive moment when dub evolved from incidental B-sides into a fully realized long-playing art form. At a time when Jamaican sound system culture was flourishing, producers were beginning to strip down popular reggae tracks into instrumental “versions,” emphasizing the bass and drums for sound system deejays to toast over while adding echo and reverb effects to make things more interesting and dynamic. While King Tubby, who was in charge of mixing the tracks, was pioneering the technical foundations of dub, Perry expanded the approach by adding the hypnotic and psychedelic sound effects that made this record so rich in ideas, rendering the album more conceptually bold.

The album reworked previously released rhythm tracks by the Upsetters, which were recorded between 1970 and 1972, shortly before Perry opened his own studio – the legendary Black Ark Studio in Kingston. Their tight, groove-driven playing provided a solid backbone for these radical studio manipulations. Using the mixing desk as an instrument, tracks were deconstructed in real time – dropping vocals in and out, isolating drumbeats, pushing bass lines to the front of the mix, and sending fragments of sound spiraling into space through the heavy use of a spring reverb and tape delay effect units. Silence became as important as sound, and the interplay of rhythm and echo created a hypnotic, immersive listening experience.

Upsetters 14 Dub Black Board Jungle established dub as a genre defined by creative studio intervention. It demonstrated that the remix itself could be the main attraction, influencing generations of reggae producers and resonating far beyond into the techniques and aesthetics of post-punk, electronic music, hip-hop, and ambient sound design. By transforming the studio into a creative laboratory and elevating the “version” to an art form, this foundational album reshaped not only Jamaican music, but the whole of modern music production culture.

Chris Liebing's collaboration with Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer, aka The Alte Stuben Modular Ensemble, 'Entangled Circuits', has been remixed by Hayden Payne, better known as Phase Fatale. Originally released on Chris Liebing's 'Evolver' LP earlier this year, the remix will be released via CLR 20th November 2026. The original track is a collaboration between Liebing and The Alte Stuben Modular Ensemble made up of Mute founder Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer. New York-born, Berlin-based Phase Fatale has held residencies at Berghain, Brooklyn's Merge and Tbilisi's KHIDI, and has built a catalogue across Ostgut Ton, Dekmantel, Jealous God and his own BITE imprint, carrying a lineage that runs from New York's cold-wave underground through to the sharper industrial edges of Berlin's club circuit.

Phase Fatale rebuilds 'Entangled Circuits' around a hypnotic bassline, pitching the original's synth stabs up a notch.
Weighted kick drums, relentless repetition, and industrial texture anchor the rework in techno mastery, delivering a peak-time weapon without loosening its grip on the source material.

The original version of 'Entangled Circuits' appears on 'Evolver', Liebing's first solo techno LP, released 27th March 2026 on CLR. 'Entangled Circuits' was composed on a skiing trip to Oberlech, Austria with The Alte Stuben Modular Ensemble, Mute founder Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer, blending dark, modular synth textures with driving rhythmic sequencing. Marking a distillation of over three decades at Techno's core, the album pairs introspective depth with immediate, floor-driven impact, bringing together contributions from the likes of Luke Slater, Charlotte de Witte, Speedy J and The Advent, while ultimately remaining rooted in Liebing's singular vision.

Alan Vegas ,Live at Max's Kansas City" fängt einen der furchtlosesten Innovatoren und Visionäre der Musikszene in voller kreativer Kraft ein und verwandelt diesen Punk- Club, eines der kultigsten kulturellen Wahrzeichen New York Citys, in ein Theater aus roher Performance, klanglichen Experimenten und kompromisslosem künstlerischem Ausdruck. Aufgenommen am 18. Juli 1980, nur wenige Wochen vor der Veröffentlichung seines bahnbrechenden selbstbetitelten Solo-Debüts, zeigt der Auftritt Vega an einem entscheidenden Punkt in seiner Karriere, an dem er eine einzigartige künstlerische Sprache entwickelt, in der Rockabilly, Blues, elektronischer Noise und Performancekunst mit elektrisierender Intensität zusammenfließen. Auf sieben Titeln wird Vega von dem jungen texanischen Gitarristen Phil Hawk begleitet, dessen messerscharfe Gitarrenarbeit sich mit Vegas Tonbandmanipulationen und experimentellen Klängen verflechtet, um seine kompromisslose klangliche Vision zu verstärken. Eher vom Instinkt als von Konventionen getrieben, fängt das Album die Kollision von Rockabilly und Blues mit elektronischen Experimenten, unerbittlicher Energie und der radikalen künstlerischen Freiheit ein, die Vegas Karriere prägten. ,Live at Max's Kansas City" ist ein lebendiges Dokument davon, wie Alan Vega am Beginn seiner Solokarriere stand - mit dem unerschütterlichen Engagement seiner kreativen Kräfte. Jeder Schrei, jeder Pfiff und jeder Ausbruch des Publikums wird Teil der Performance selbst und bewahrt den explosiven Austausch zwischen Künstler und Publikum, der Vegas einzigartige Bühnenpräsenz ausmachte. Entdeckt von Liz Lamere und Jared Artaud im Alan-Vega-Archiv, dem ,Vega Vault", wurde ,Live at Max's Kansas City" von Josh Bonati aus den Original-Live-Aufnahmen remastert, wobei die Bänder von Ted Young übertragen wurden. Diese historische Performance, die ein weiteres bisher unbekanntes Kapitel aus dem ,Vega Vault" enthüllt, ist zum ersten Mal auf Streaming-Plattformen und auf Vinyl erhältlich .

5 track LP

Follow-up to 2025's “i was put on this earth” (“a triumph of gentle reverie and quiet upheaval” - Pitchfork). DJ Python’s music has always occupied the interesting space in between - reggaeton's low pulse, ambient's patience, deep house's forward motion, the abstracted sounds of trip-hop, shoegaze, and pop - and this new EP finds him stretching that even further. A companion to “i was put on this earth”, the new EP shares that project's creative DNA while pulling in its own direction.

DJ Python (aka Brian Piñeyro) steps more fully into the role of singer and songwriter, sharing the mic across a set of collaborators including Ari, Tony Bontana, and Eden, while still carving out room for hypnotic solo songs.

Across five tracks, the project moves fluidly while retaining the captivating melodies, atmospheric textures, and rhythmic innovation that defined Python's earlier recordings - Mas Amable, Angel, and Club Sentimientos Vol 2 - expanding those sounds into something looser, warmer, and harder to categorise.

Naughty Boys, originally released in 1983, was Yellow Magic Orchestra’s seventh and final album to top the Japanese Oricon Pop charts.

A remix album, Naughty Boys Instrumental was released in July 1983. It contained nearly the entire Naughty Boys album as instrumental tracks in an entirely different running order, as well as the b-side to "Kimi Ni Mune Kyun", "Chaos Panic"; and the full instrumental version of "You've Got to Help Yourself", of which the vocal track was included on Service.

Naughty Boys Instrumental featured additional synthesizers imitating the vocal lines, as well as new embellishments and mixes. Several tracks featured sonically updated percussion tracks, while "Ongaku" featured an acoustic piano soloing over the piece.

This release combines both the original and instrumental albums. Naughty Boys & Instrumental is available on black vinyl and includes a 4-page booklet.

Delinquent Habits is the self-titled debut album of the Chicano hip-hop group that was formed in Los Angeles in 1991. As a group they got widespread attention with their, both melodic and hardcore, Latin-tinged rap. For the album they got help from Sen Dog, known from the very popular hip hop group Cypress Hill. He was the executive producer and also made a guest appearance on "Underground Connection".

The group was one of the biggest breakthrough acts of 1996. It started with the single "Tres Delinquentes" that attracted much attention and sold over one million copies. The album followed quickly and was equally successful by reaching the Billboard Top 200. The genre gained a new classic!

Delinquent Habits is available as a 30th anniversary edition of 2000 individually numbered copies on blue and white vinyl.