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ANNE is proudly presents her new imprint Blind Harmonies, shaped by intuition, patience, and a self-taught approach to music creation. The name reflects a journey built without formal training, producing music "blind," guided by listening, experimentation, and trust in instinct rather than rules. The label is built on the belief that harmony is something you sense before you understand. By closing your eyes, sound becomes more honest, rhythms breathe, textures speak, and emotion takes the lead.

With her first release, ANNE presents four dynamic, dance floor - oriented cuts-emotional and seductive at the same time. Opening with A1. Daydream, the EP sets a melancholic yet driving tone, drifting deep into the listener's mind and emotions. A2. Castles in the Air follows with a propulsive rhythm, led by Detroit-influenced synth soul and percussive energy that carries the track forward.

On the B-side, B1. Metallic Tapes delivers a hypnotic, percussive, and trippy groove, maintaining a steady yet intense rhythmic flow. Closing the record, "In the Blink of an Eye" blends powerful drums with a sharp, striking lead-proving that potent techno can be both intense and beautiful. The release it's a personal journey, produced with detail and love and focusing on the dynamic but timeless approach of techno music.

The Fall of Communism as Seen in Gay Pornography is the original soundtrack to the film of the same name by WILLIAM E. JONES. Our first release in the seven-inch format, the record comes with original texts by WILLIAM E. JONES and JARETT KOBEK. 100 copies, numbered.

MUSIC by Jean-Pierre Bedoyan

Pratt & Moody melden sich mit einer neuen 7"-Single auf Timmion Records zurück, auf der ,Hard Way To Live" und ,You Bring Me Joy" zu finden sind - zwei tiefgründige Soul-Stücke, die ihren Platz unter den wahren Pionieren des modernen Sweet-&-Beat-Soul-Revivals erneut untermauern. Geschrieben und aufgenommen zusammen mit Timmions bewährter Hausband Cold Diamond & Mink, setzt die Single eine Tradition fort, die schon immer die Grenze zwischen zeitgenössischem Songwriting und zeitloser Soul-Ästhetik verwischt hat. Die A-Seite, ,Hard Way To Live", zeigt Pratt & Moody ganz in ihrem Element der Beat-Balladen. Aufgebaut auf einem warmen, funkigen Fundament, schafft der Song ein Gleichgewicht zwischen emotionaler Tiefe und melodischer Leichtigkeit, während der Refrain in Crossover-Soul-Pop-Gefilde übergeht. Textlich setzt er sich mit den Narben des Lebens und der stillen Schwierigkeit auseinander, den Schmerz loszulassen, den sie verursachen - das Gefühl, weiterzulaufen, selbst wenn man das Letzte von dem, was man hatte, bereits aufgebraucht hat. Auf der B-Seite entfaltet sich ,You Bring Me Joy" wie eine langsam brennende David-Lynch-Szene; sein dramatischer Einlauf erinnert an Soundtrack-Soul, bevor er in einen von den Staple Singers der Stax-Ära inspirierten Refrain übergeht. Tremolo-getränkte Gitarrenlinien verweisen auf klassische Dark-Surf-Musik, während Emilia Siscos gospelartige Hintergrundstimme an Mavis Staples erinnert und den Track zu voller emotionaler Entfaltung bringt. Zusammen bieten diese beiden Songs einen lebendigen Vorgeschmack auf das kommende Album von Pratt & Moody - ein tieferes Eintauchen in gefühlvolles Storytelling, ihre bewährten Lowrider-Soul-Fähigkeiten und moderne Klarheit, das bald bei Timmion Records erscheinen wird.

Pratt & Moody melden sich mit einer neuen 7"-Single auf Timmion Records zurück, auf der ,Hard Way To Live" und ,You Bring Me Joy" zu finden sind - zwei tiefgründige Soul-Stücke, die ihren Platz unter den wahren Pionieren des modernen Sweet-&-Beat-Soul-Revivals erneut untermauern. Geschrieben und aufgenommen zusammen mit Timmions bewährter Hausband Cold Diamond & Mink, setzt die Single eine Tradition fort, die schon immer die Grenze zwischen zeitgenössischem Songwriting und zeitloser Soul-Ästhetik verwischt hat. Die A-Seite, ,Hard Way To Live", zeigt Pratt & Moody ganz in ihrem Element der Beat-Balladen. Aufgebaut auf einem warmen, funkigen Fundament, schafft der Song ein Gleichgewicht zwischen emotionaler Tiefe und melodischer Leichtigkeit, während der Refrain in Crossover-Soul-Pop-Gefilde übergeht. Textlich setzt er sich mit den Narben des Lebens und der stillen Schwierigkeit auseinander, den Schmerz loszulassen, den sie verursachen - das Gefühl, weiterzulaufen, selbst wenn man das Letzte von dem, was man hatte, bereits aufgebraucht hat. Auf der B-Seite entfaltet sich ,You Bring Me Joy" wie eine langsam brennende David-Lynch-Szene; sein dramatischer Einlauf erinnert an Soundtrack-Soul, bevor er in einen von den Staple Singers der Stax-Ära inspirierten Refrain übergeht. Tremolo-getränkte Gitarrenlinien verweisen auf klassische Dark-Surf-Musik, während Emilia Siscos gospelartige Hintergrundstimme an Mavis Staples erinnert und den Track zu voller emotionaler Entfaltung bringt. Zusammen bieten diese beiden Songs einen lebendigen Vorgeschmack auf das kommende Album von Pratt & Moody - ein tieferes Eintauchen in gefühlvolles Storytelling, ihre bewährten Lowrider-Soul-Fähigkeiten und moderne Klarheit, das bald bei Timmion Records erscheinen wird.

One year on from his first Samurai release, Vardae returns to plunge even deeper into his mesmerising strain of hyper-mobile drum mantras and textural intrigue. Cédric Arnous' prolific run over the past few years has rapidly positioned him at the forefront of a scene between scenes where the rhythmic intrigue of drum & bass collides with modern techno's hypnotic linearity. On The Energy Of Presence he relishes the flexibility afforded by this intersection to deliver four distinct, high-impact workouts made with his ever-evolving live set in mind. 'Grounded Attachment' leads with the sonar strafe and broken beat pulse readily associated with the Vardae sound, threading twitchy percussion and steely brushstrokes around the bedrock of low-end pressure. It's the slowly emerging drone sweeps that round out the character of the track, betraying a warmth encased within the metallic overtones that deepens the emotional weight immeasurably. By contrast, 'Magnetic Flux' swerves towards a more direct thrust with its high-tempo 4/4 undercarriage and a limber, acidic lead line that helps join the dots between Vardae's modernist sheen and the roughneck days of free party tekno. This is still charged, atmospheric dance music, but it has no problem showing its teeth, too. 'Electric Feelings' is similarly sprightly in its tempo, but as ever Vardae runs a tight game with the weight of his drums, finding lightness and dexterity even at 170BPM while the transcendental wormhole opens up around the rhythmic force at the centre. Ensuring there's no space for predictability on this release, 'The Energy Of Presence' plies its own trade in sumptuous dub techno chords and angular groove designed to make you move on a different kind of downbeat. The consummate title track, it's the most roundly melodic offering on the record, served as a crescendo to the whole listening experience comfortably nestled on the B2 of the physical edition. Capitalising on the hypnotic codes etched into the dub techno sound, Vardae dials up the delay feedback for a psychedelic release at the end of a record that covers a lot of ground without losing focus.

zake has long mastered the art of go-slow pacing with gradual changes in the density and timbre of his synths. Here, four extended ambient pieces unfold through slow-moving synth layers and sustained tonal clusters shaped by hospital room stillness on this new one from the ever present ambient don, zake. 'Hh I' opens with low-frequency drones and faint harmonic shifts that hover without a rhythmic anchor. 'Hh II' introduces higher tones with subtle detuning, creating tension. 'Hh III' darkens through thicker layering and reduced harmonic movement while 'Hh IV' thins the texture with long decay tails. Another immersive gem.

Six hard-hitting tracks, without unnecessary breathing space. The spectrum is wide, the trajectory crystal clear: from muscular Hard Dance to incisive Techno, reaching into the more radical territories of Hard Techno. Each track strikes with precision, alternating massive kicks, abrasive textures, and pressure-building rises that compress the space before impact. Direct, efficient, surgical.

An undeniable classic in Manu Kenton’s catalogue, “Arkanoid” is reborn in a revisited version by Wex 10. The remix injects additional tension, sharper and more cutting, transforming the track into a formidable weapon calibrated for peak-time intensity. A rework faithful to the original DNA, yet propelled into a more explosive dimension.

True to its identity, Mekanik Records delivers an EP that condenses power, tension, and club efficiency. No unnecessary detours, no artifice. Just the essentials: rhythm, energy, impact.

Français

Mekanik Records rallume la mèche et, cette fois, l’étincelle éclate d’un rire nerveux. Avec “Hi Hi Hi Hi Hi Ha Ha EP”, Manu Kenton livre un manifeste en six déflagrations, façonné pour les nuits denses et les dancefloors sous haute tension.

Six titres percutants, sans respiration superflue. Le spectre est large, la trajectoire limpide : de la Hard Dance musclée à la Techno incisive, jusqu’aux zones plus radicales de la Hard Techno. Chaque morceau frappe avec précision, alternant kicks massifs, nappes abrasives et montées sous pression qui compriment l’espace avant l’impact. Direct, efficace, chirurgical.

Classique incontournable du répertoire de Manu Kenton, “Arkanoid” renaît dans une version revisitée par Wex 10. Le remix insuffle une tension supplémentaire, plus tranchante encore, transformant le titre en arme redoutable calibrée pour les pics d’intensité. Une relecture fidèle à l’ADN original, mais propulsée vers une dimension plus explosive.

Fidèle à son identité, Mekanik Records signe ici un EP qui condense puissance, tension et efficacité club. Pas de détour inutile, pas d’artifice. Juste l’essentiel : rythme, énergie, impact.

From dancefloor anthems to deep, soulful grooves-pure contemporary fire - a stunning fusion of soul, jazz, hip hop, and funk from Spain's most exciting artists presented in volume 5 of Sampladelia series. The Groove Family kicks off the compilation, Sampladelia 2025, with a dancefloor banger, while Carlos Abril takes us on a soulful journey, and producer Blunted Soul dives into instrumental hip hop infused with funk. From Jerez, Maestro Mutante delivers a distinctive sound full of contemporary soul, while Sr. Zambrana blends jazz, hip hop, and Japanese influences. Smart K., from Vigo, brings his signature Spanish-sung R&B, and guitarist Juanma Montoya proves that soul-funk and flamenco accents are a perfect match. Karmasound mixes jazz with electronic textures, MrFoxMad pays an elegant tribute to Roy Ayers, and Malage delivers a killer track for the dancefloor. Laboca joins Flavia Beaká with experimental, conscious hip hop, and to close the compilation, Pablo Torti represents the new wave of Spanish contemporary jazz. Enjoy this new volume of Sampladelia series!

A decade into life, Secret Society marks this notable milestone year with a release that stays true to its ethos of depth and groove. Ewan Jansen started producing in the early 90s in Perth, often with the same hardware he used in his live shows. He's back on the label with two driving cuts built squarely for the dancefloor: 'Hydroid' is bright mid-tempo techno with pixelated synth charm, and 'Bodywash' is a deeper, more syrupy sound for late-night cruising. Alongside them sits a more introspective collaboration with Italian producer Luca that trades peak-time punch for texture and restraint. On remix duties, John Dimas adds his trademark crisp momentum and understated flair, a fitting choice given his long-standing connection to the camp.

East London's Jeigo works alongside North London perfume house Nosu on this quietly inventive release from Fleurella Records that extends beyond the usual club framework and intertwines scent and sound. Opener 'Placid Shimmers' drifts between organic house, lo-fi ambient and introspective worlds with swung rhythms and soft focus synths, while 'SPF 50' leans into melancholic breaks and 90s IDM echoes. It feels delicate but still moves you and is where texture and mood carry the groove into something subtly uplifting and tactile. A beatless version of the opener is included for pure dreamy escape.

After a short break, Vibes and Grooves is back with Collab Grooves Part 2. Following the success of our initial collaborative venture, we continue our mission of uniting visionary producers under a single sonic umbrella. This time Jemaho, Shaka and DFRA come together for another deep collaboration.
With “Joudia’s Groove (Drifting Away – The DAT Version)” on the A side, we are delighted to have Jemaho on board. He delivers an outstanding, warm and soulful vocal house cut driven by a smooth, uplifting groove and rich musical depth. With its unique tape sound aesthetic, a true masterpiece. Certainly a future club classic.
The B side opens with „Sparkling Soul“ from label resident Shaka. A jazzy house affair that blends vibrant piano melodies, a hypnotic lead synth line, and a tight bassline. It radiates warmth, sophistication, and an ever-present sense of romance.
The second track comes from DFRA, the man from Buenos Aires, who is already well known on the label for his outstanding tracks from the latest Collab Grooves. With “New York Style”, DFRA delivers a deep house tune shaped by warmth, restraint, and a steady underground groove. Subtle textures and raw rhythms create a smooth, flowing atmosphere that feels natural and unforced.
Timeless in feel and refined in production, Collab Grooves Part 2 captures an effortless flow that speaks directly to both the heart and the dancefloor.

Cromby delivers a four-track EP built for the dancefloor, each cut hitting a different shade of club energy. On the A-side, Love on Tenderhooks kicks things off with a high-octane bassline, euphoric builds, driving organ and haunting vocal hook. It's followed by All Night, a deeper, darker roller driven by sub bass, dubby textures and a relentless groove. Flip it over and On Target takes a more trippy turn, riding a warm, bumping bassline with swirling, psychedelic vocals drifting across the mix. Closing things out is The Beat, a percussion-led groover that locks into a hypnotic rhythm and keeps the floor moving.

From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Saul Williams, Tunde Adebimpe, Mahogany L. Browne, Abiodun Oyewole, Anthony Joseph and Tara Middleton are the featured voices that turn rhyme into rhythm and revelation into resistance Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Saul Williams, Tunde Adebimpe, Mahogany L. Browne, Abiodun Oyewole, Anthony Joseph and Tara Middleton are the featured voices that turn rhyme into rhythm and revelation into resistance Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

Diffuse Reality presents TOBAS 005. We welcome Kushkusshhh with Hollowed Memories. A deep, hypnotic and powerful LP. Stellar sounds that awaken all your senses, a constant hypnosis, immersive from the very first track, with textures and atmospheres that take you on a rewarding journey into your most inner self. Available on 12" vinyl and digital. Prepare yourself, we're in this journey together.

Born in Madrid and now entrenched deep in Boston's underground, Ketzaal operates at the darker more, textural end of the techno spectrum. He shows off that signature again here with a tightly wound four-tracker. Opener 'Placed Upon Thee' lands with great tension, all driving stabs and forward thrust, while 'Final Ritual' dips into a rolling, bass-heavy stride that loosens the grip without losing pace. On the flip, 'The Throne' locks into a head-down groove before 'In Bloom' stretches into something more elusive and shapeshifting. Purposeful construction and a clear sense of function don't mean there isn't plenty of character in these dance floor bombs.

Soulful Motown City deep house, hip hop interludes, swinging techno, and early Chicago-inspired cuts. Donato Basile steps out onto DVS1's Mistress Recordings label with two 12-inches: Mistress 18 and Mistress 18.5. Pressed in tandem, each record draws upon Basile's dual aliases to go head-to-head as Dona vs. DJ Plant Texture. Rhythmic machine grooves and masterful MPC work that pay respect to the diverse sounds of the metropolis Midwest cities.

With Dispersion, Loom & Thread return to the volatile architecture of the expanded piano trio - and quietly fracture it from within.

Daniel Klein (drums), Tobias Fröhlich (double bass) and Tom Schneider (keys, sampler) remain the sole agents on stage and in the final recording. The triangle holds. And yet, the field has expanded. For their second studio album, the trio fed their improvisations with the timbral signatures of guest saxophone and vibraphone players - not just as additional voices to be featured, but also as material to be absorbed, atomized and redistributed. The result is not augmentation but thorough refraction.

Where the debut album explored the recursive labyrinth of Schneider's live sampling of his own piano, Dispersion introduces an external grain into the feedback system. Breath and metal. Reed turbulence and struck resonance. The trio sampled extended improvisations by saxophone and vibes players: Victor Fox, Asger Nissen, Volker Heuken, and L&T's own Daniel Klein; dissected their attacks, overtones and decay curves, and integrated these fragments into the trio's internal circuitry. What emerges is a play of presences without bodies - instrumental ghosts circulating through the dense weave of rhythm and keys.

At first, one might hear the familiar relational tension: Klein's polyrhythmic elasticity interlocking with Fröhlich's tensile double bass figurations, Schneider poised at the hinge between tonal field and percussive impulse. But soon, the surface splinters - again. A vibraphone shimmer appears, yet no mallets are visible. A reed multiphonic surges through the texture, bending space between bass and drums. These events are neither quotations nor overlays; they are redistributed energies, dispersed across the trio's grammar. A digital multidimensional interplay ensues.

If the first album unfolded as a two-tiered game - live phrase and sampled reflection - Dispersion adds a further axis. The sampled materials from other improvisers are stripped of their erstwhile two-way interaction and reconstituted as malleable particles. Signifier detached from origin, resonance detached from gesture. The trio navigates a constantly shifting topology in which acoustic memory and electronic manipulation are indistinguishable.

Crucially, the album never abandons the physical urgency of three musicians reacting in real time. The additional timbral layers do not thicken the texture into opacity; rather, they introduce stark points and arrows of diffraction. Density opens into prismatic clarity. Lines splinter and regroup. What seems like a quartet or quintet collapses back into three bodies negotiating an expanded field.

Dispersion is not about addition but about distribution - of agency, of timbre, of temporal perspective. It is an album in which the trio setting becomes a site of multiplicity without surrendering its immediacy. A dissolution not only of the divide between present experience and memory, but between inside and outside, self and other.

Three musicians. Countless vectors. A music that fractures in order to cohere.

CREDITS:
Tom Schneider: piano & sampler
Tobi Fröhlich: double bass
Daniel Klein: drums & percussion

sample sources:
Victor Fox: tenor saxophone
Asger Nissen: alto saxophone
Volker Heuken: vibes
Daniel Klein: vibes

Recorded by Martin Dressler at Bauer Studios, Ludwigsburg.
Mixed & mastered by Martin Ruch.
Artwork by Viet Hoa Le.

Swiss label Mormorio Records returns with its sixth release.
MOR006 is delivered by Zürich-based artist Aline, presenting two original tracks that move between subtle grooves, reduced textures and a warm, driving flow.
On remix duties, Paul K and Lorik each bring their own perspective to the record, stretching the originals into deeper territories while keeping the essence intact. The result is a balanced release that works as well on intimate dancefloors as it does in late-night sessions.

MOR006 continues the label’s focus on understated, carefully crafted club music, rooted in the Swiss underground scene.

Kashpitzky returns with an era marking new EP on Be As One Imprint, channeling the classic Detroit techno into a modern sonic journey.

Blending driving rhythms with lush orchestration, the release is rich in sweeping strings and cinematic textures, Each track unfolds with emotional depth, balancing raw machine energy and elegant musicality.

The EP pays homage to the golden era of Detroit while pushing its sound into new territory, A timeless yet forward-thinking release, it captures both nostalgia and innovation in equal measure.

An album of improvised music was recorded in Belgrade, in the courtyard of one of the musicians’ homes. There were no prior agreements, prepared compositions, or preplanned ideas. The album came into being in real time, right there on the spot.



Ulya Volkova (pleurereme) - cellist/multi-instrumentalist, composer/sound designer, producer and music enthusiast with over a two decade of experience in cultural community. After studying for 15 years at the Gnessin School (Academy) of Music she began writing music for big films, documentaries, TV series, audio books, plays and exhibitions, soundtracks for games and sound design for interfaces, and music production for artists all over the world.

Evgenii Piankov - Keyboardist, producer, composer, sound designer, arranger, and multi-instrumentalist. Throughout his career, he has worked in various roles with different popular artists.

Aleksei Siubaev (Mark Borzer) - Musician, ( from True Flavas Band, and Great Rvivers ) producer and DJ operating at the intersection of funk, soul, avant-jazz, post-rock and experimental music. Alongside the collaborative projects, he develops a solo practice focused on hybrid forms and textural experimentation.

Peach Discs continues into 2026 with a deeply jacking record from the king of the live house jam Demuja. If you've seen him on the 'gram you'll know just how incredibly prolific he is – the tracks that make up this EP were whittled down, tweaked and finessed from close to 100 demos, and we're thrilled with what we've put together, together. In his own words, the EP is "a little love letter to the dancefloor that lives within the idea of a long, sweaty night out. All the tracks were made at very different stages – some produced a while ago, others more recently – and I hope that’s part of what makes the EP interesting as well."

The "title.txt" EP embodies a pure distillation of Demuja's sound– rooted in classic house techniques with a dubbed-out sensibility and, the record's five tracks all stem from live-jams bashed out with focused intention in his Austrian studio on a plethora of drum machines, synths and effects units.

Things kick off with probably the wiggliest of the lot, as "Stop Asking Me" worms a long-range bassline around snappy, stripped-back drums before leaning towards techno (can you hear a snare on the 2 and the 4 cos i can't) on "Oldhead," as its dusty samples drag it back towards house, with a sprinkling of dubstep flavour tucked away in the breakdown. The A-side wraps up in a dubbed-out mode with "Say No More's" deep, modulating textures wrapping themselves around skippy, insistent percussion.

Those dub sounds carry over onto the B-side's "Tool 6," as classically filtered chords peek through the mix (though that bassline is definitely talking tech-house), and Pulse brings it home with strutting drums, disembodied vox and arcing synthlines.

We've also thrown in two bonus tracks you won't find on the 12" but will be available to those that pick up a copy of the record through the Peach Discs Bandcamp. Tasked with picking one fave each, Gramrcy went for "Almost Cherry," a barreling ride across an insistent Reese bassline reminiscent of Samuel L Sessions' best bombs, while Shanti chose the wiggling, diva-wailing "Art of Failing."

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

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

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

The Fuga compilation returns to Token with its seventh installment by a fresh batch of artists emphasizing the cryptic sound of the Belgian record label. The V/A displays urgency as its focal point, expanding and contracting its acoustic space throughout to channel instability. With eight contributions, Fuga VII sifts through nail biting arpeggios, frenzied percussion, and obscure ambiance to recalibrate techno's current soundscape.

Opening the compilation is contemporary techno mainstay Rene Wise with his debut contribution to the record label 'Rough Rider'. In this A1, Wise plays to his strengths by blending deep techno influences with hyper-focused rhythmic work. With a hint of tribalism, he conjures up synthwork from far off to whip motion into heavy drum patterns. Following this first track, STIPP and Sandrien take control in presenting 'Corrie', a sequence-forward groover that slides through drum programing to streamline rhythm. A shrill pad comes in at the halfway mark, completely lifting the energy of 'Corrie' to strain the track's obscurity with an ethereal counterweight. The brief passage of these kinds of elements provides a lot of dynamic to what would otherwise be a powerfully straightforward piece. Diving deeper, Red Rooms unveils 'Limited Sensory' as the next chapter of the compilation. Always swift and exact, the German artist continues to push into the ultra immersive with a web of elements that whiz by for a peaktime lock in. Cold in attitude, Red Rooms tunnels through 'Limited Sensory' with quick drumsand far-off percussive hits that rumble through the track. Stepping up afterwards is Lindsey Herbert with 'Oscillations in Space' - an appropriately named recording that experiments with mania as a tool for the dancefloor. Fast and spiraling, Herbert keeps her hands on the arpeggio's filter to contain tension through thunderous reverb transitions, balancing panic with pace. AgainstMe then stretches out the followup with the commanding 'Phase Shift' to double down on weight. Textural intimidation and stomping percussion is given the space it needs to perform on heavy weight sound systems, making it an austere middle point for Fuga. MAL HOMBRE then guides the listener to more elastic sound design in 'Critical Velocity', in a most appropriate Token fashion. Snowballing in intensity halfway through, MAL HOMBRE pushes the cutoff of his melody and programs snare rolls for vintage craze through the second section. Bells clash with ringing hats to fly the track along its course without looking back or letting go. Conor Wall takes control with 'The Strategy' that focuses on pace rather than melody, weaponizing metallic texture for a deep dancefloor experience. The ambiance does a lot of story telling here, marking breaks and riding through drops to provide grit to an already substantial record. This leads us to the final contribution in Fuga VII - 'Ad Libitum'. Here, Porteix emphasizes the conclusion of the compilation with mystery. The synths slither around pulsating rhythm, creating uninterrupted motion throughout the track's entirety. Porteix draws the curtains on an inquisitive note, keeping the suspense high until the next Fuga compilation comes around.

Seit mehr als drei Jahrzehnten bahnt sich David Eugene Edwards einen einzigartigen Weg durch die amerikanische Musikszene. Zunächst mit dem dunklen Folk-Dringlichkeit von 16 Horsepower, dann mit der andächtigen Intensität von Wovenhand und in jüngerer Zeit durch die reduzierte Klanglandschaft seiner Soloarbeiten. Auf seinem zweiten Soloalbum "Mercurial Silence" setzt Edwards den Weg fort, den er auf seinem Debütalbum "Hyacinth" aus dem Jahr 2023 eingeschlagen hat, und dringt gleichzeitig durch den erweiterten Einsatz elektronischer Produktion und vielschichtiger Texturen in neue Klangwelten vor. Auf dem Album kanalisiert Edwards die krasse Intensität, die einen Großteil seiner Karriere geprägt hat, und greift gleichzeitig auf eine breitere Klangpalette zurück, die sich zugleich uralt und modern anfühlt. Seine unverwechselbare Stimme bewegt sich durch die Schichten aus Streichern, perkussiven Drones und gespenstischer Elektronik und verleiht dem Album die Aura einer Welt außerhalb unserer Reichweite. Über seine 12 Songs hinweg verfeinert Edwards hier die thematische Ausrichtung, die erstmals auf seinem Debüt erkundet wurde, und erweitert gleichzeitig seinen Fokus, um die wiederkehrenden Geschichten zu betrachten, die verschiedene Kulturen über Himmel und Erde und deren stetes Miteinander erzählen. Musikalisch zeichnet sich das zweite Solowerk durch die bewusste Verschmelzung akustischer Instrumente mit ausgeprägten elektronischen Elementen aus. Synthesizer, programmierte Rhythmen und dichte Ambient-Texturen verbinden sich mit Edwards' eher traditionellen Arrangements und schaffen einen Klang, der zwar karg bleibt, aber gleichzeitig die räumliche Tiefe der Songs erweitert. Während frühere Projekte oft auf rohe physische Kraft setzten, wirkt "Mercurial Silence" mit einer anderen Art von Kraft. Das Album entfaltet sich geduldig, atmosphärisch und überwältigend.

Seit mehr als drei Jahrzehnten bahnt sich David Eugene Edwards einen einzigartigen Weg durch die amerikanische Musikszene. Zunächst mit dem dunklen Folk-Dringlichkeit von 16 Horsepower, dann mit der andächtigen Intensität von Wovenhand und in jüngerer Zeit durch die reduzierte Klanglandschaft seiner Soloarbeiten. Auf seinem zweiten Soloalbum "Mercurial Silence" setzt Edwards den Weg fort, den er auf seinem Debütalbum "Hyacinth" aus dem Jahr 2023 eingeschlagen hat, und dringt gleichzeitig durch den erweiterten Einsatz elektronischer Produktion und vielschichtiger Texturen in neue Klangwelten vor. Auf dem Album kanalisiert Edwards die krasse Intensität, die einen Großteil seiner Karriere geprägt hat, und greift gleichzeitig auf eine breitere Klangpalette zurück, die sich zugleich uralt und modern anfühlt. Seine unverwechselbare Stimme bewegt sich durch die Schichten aus Streichern, perkussiven Drones und gespenstischer Elektronik und verleiht dem Album die Aura einer Welt außerhalb unserer Reichweite. Über seine 12 Songs hinweg verfeinert Edwards hier die thematische Ausrichtung, die erstmals auf seinem Debüt erkundet wurde, und erweitert gleichzeitig seinen Fokus, um die wiederkehrenden Geschichten zu betrachten, die verschiedene Kulturen über Himmel und Erde und deren stetes Miteinander erzählen. Musikalisch zeichnet sich das zweite Solowerk durch die bewusste Verschmelzung akustischer Instrumente mit ausgeprägten elektronischen Elementen aus. Synthesizer, programmierte Rhythmen und dichte Ambient-Texturen verbinden sich mit Edwards' eher traditionellen Arrangements und schaffen einen Klang, der zwar karg bleibt, aber gleichzeitig die räumliche Tiefe der Songs erweitert. Während frühere Projekte oft auf rohe physische Kraft setzten, wirkt "Mercurial Silence" mit einer anderen Art von Kraft. Das Album entfaltet sich geduldig, atmosphärisch und überwältigend.

GER NOFX waren sauer (sind es möglicherweise immer noch) und wollten uns das wissen lassen! Ursprünglich 1999 veröffentlicht, war "The Decline" ein mutiges Werk und markierte einen großen Wendepunkt für NOFX. Der Song, der weithin als eines ihrer Meisterwerke gilt, ist ein 18-minütiges Punkrock-Spektakel, das die Entertainmentqualitäten, den lyrischen Witz und die Musikalität der besten Punkrockband aller Zeiten richtig zur Geltung bringt. Der Song, der den Zustand Amerikas satirisch darstellt und die gleichgültigen Massen und Politiker gleichermaßen aufs Korn nimmt, ist auch im Jahr 2026 natürlich leider noch aktuell und kritisiert somit weiterhin die Mächtigen auf eine Weise, zu der nur wenige Künstler den Mut haben. Die Vinyl-Single enthält auf der B-Seite die erste Version von "Clams Have Feelings Too" (das später auf dem Album "Pump Up The Valuum" wieder auftauchte) und ist ein Muss für jeden NOFX-Fan. Erneut auf schwarzem Vinyl wieder da und und limitiert in neuem farbigem Vinyl. Inklusive Beilage mit Texten und Bildern. NOFX were pissed off (possibly still are) and they wanted to let us know! Originally released in 1999,The Decline, was a brave release and marked a huge turning point for NOFX. Widely regarded as their magnum opus, the song is an 18-minute punk rock spectacle that showcases the showmanship, lyrical wit, and musicality of the best punk rock band of all time. Satirizing the state of America and skewering the indifferent masses & politicians alike, the song is eerily relevant in 2026 and continues to critique the powers that be in a way few artists have the courage to do. The vinyl adds first version of "Clams Have Feelings Too" (later resurfacing on the Pump Up The Valuum album) on the flip, the 12" is an essential release for any NOFX fan. Back on black and colored vinyl (ltd), includes insert with lyrics and pics.

,Paradessence", das dritte Album von Visible Cloaks, ist ein Werk der Entstehung und Illusion. Die vierzehn Songs des Albums verschieben, heben und schimmern vor einem schwach leuchtenden Hintergrund der Nacht, einem höhlenartigen Raum, der durch spärliche hyperreale Darstellungen der natürlichen Welt geformt wird. Die Arrangements sind gleichzeitig grandios und zerbrechlich, sowohl eine Umkehrung als auch eine Kulmination dessen, was zuvor kam, und so abenteuerlich wie alles, was sie bisher produziert haben. Seit ihrer Umwandlung von Cloaks zu Visible Cloaks im Jahr 2014 haben Spencer Doran und Ryan Carlile eine komplexe Matrix gegensätzlicher Konzepte entworfen: organisch und künstlich, zufällig und bewusst, authentisch und repliziert. Der Albumtitel, der aus dem satirischen Portmanteau des Autors Alex Shakar aus ,paradox" und ,essence" stammt, spiegelt diese Spannungen direkt wider: Die Paradessence von Konsumgütern ist der ,schismatische Kern", der ihre Attraktivität ausmacht (in Shakars Beispiel ist Kaffee begehrt, weil er gleichzeitig entspannend und anregend wirkt). Der Balanceakt von Paradessence verleiht diesen Spannungen eine größere Dringlichkeit, da das Leben im 21. Jahrhundert durch eben diese Spannungen neu geordnet wird. Stille ist ein wichtiger Charakter in Paradessence, der nicht nur in der Gestaltung des Klangs zu spüren ist, sondern auch in dem Druck, den er auf alles und alles, was entsteht, ausübt. Die Gruppe ließ sich vom Konzept des ,positiven Raums" des Architekturtheoretikers Christopher Alexander beeinflussen, einer Idee, dass der Form der Leere um ein Objekt herum die gleiche Aufmerksamkeit geschenkt werden kann wie der Konstruktion des Objekts selbst. Wir hören, wie Klänge ihre eigene Stille in sich tragen, zwischen Existenz und Nicht-Existenz oszillieren und wie Mikroorganismen Lebenszyklen durchlaufen. Die Instrumente, die Paradessence untermauern, haben etwas Kollektives an sich. Sie bewegen sich wie eine Herde, so wie wenn der Wind über ein Feld voller Blätter weht und die Luft in der Abwesenheit von Bewegung sichtbar wird; mehrere Arten leben in derselben Melodie zusammen, treten hervor, ziehen sich zurück und verwandeln sich im Laufe von mehreren Minuten. ,Anstatt Stücke zu schaffen, die horizontal als Umgebungen funktionieren", sagt Doran, ,wollten wir sie als lebendes Material konzipieren, das sich im Raum verändert und ständig im Fluss ist." Die Songformen entfernen sich von der Atmosphäre und tendieren zur reinen Abstraktion. Utopismus schwebt am Rande; eine Beziehung zu imaginären Zukünften, die weder naiv, zynisch noch nostalgisch ist. Die Welt, die Visible Cloaks im Laufe der Zeit aufgebaut haben, wird oft von Mitwirkenden physisch umgesetzt, von denen eine vertraute Besetzung für Paradessence zurückkehrt. Motion Graphics (Joe Williams) ist auf ,synthetic woodwinds" zu hören und hat das Album mitgemischt, wobei er ihm mit seinem charakteristischen Glanz Kontur verliehen hat. Die miteinander verbundenen Stücke ,Shapes" und ,Thinking" wurden zusammen mit den Innovatoren der Umweltmusik Yoshio Ojima und Satsuki Shibano entwickelt, die auch mit dem Duo an der generationsübergreifenden FRKWYS-Kollaboration serenitatem gearbeitet haben. Das letztere Stück enthält einen von Ojima verfassten gesprochenen Text, der von Shibano auf Japanisch und von der Komponistin und langjährigen Freundin Félicia Atkinson auf Französisch gelesen wird. Das Componium Ensemble, Dorans Projekt für ,unbestimmte Kammermusik" mit selbstspielenden Software-Instrumenten, bildet die Grundlage für ,System" in einem Moment von Pessoa-scher Heteronymie. Auf dem Album ist auch Ioana Selaru zu hören, eine rumänische Komponistin und Violinistin, die ,Intarsia" mit ihrer Stimme und ihrem Streicherspiel bereichert. Doran beschreibt ihre Zusammenarbeit als ,eine Übung in illusorischer Präsenz", die sie gemeinsam aus ,der Idee entwickelt haben, ihr reales Instrumentenspiel virtuellen Instrumenten gegenüberzustellen, um die Grenzen zwischen synthetischen Streichinstrumenten und denen, die in der Realität existieren, zu verwischen". Selarus energiegeladene Darbietung in ,Intarsia" ist ein deutlicher Beweis für den dramatischen Kern von Paradessence: ein dringliches skulpturales Unterfangen, ein Instrument und eine menschliche Stimme, moduliert von einem Meer synthetischen Wachstums. Doran beschreibt, wie für ihn ,dieses Verschieben zwischen dem Realen und dem Virtuellen etwas ganz anderes einfängt, etwas Seltsames und Unbeschreibliches, das ein fester Bestandteil des Lebens in der digitalen Moderne ist, sowohl online als auch im realen Leben". Es ist elektronische Musik, die nicht nur durch ihre wechselnden Formen eine abstrakte Darstellung unserer aktuellen Traumrealität heraufbeschwört, sondern auch imaginäre Räume schafft, die emotional nuanciert sind und zu Momenten der Anmut führen.

,Paradessence", das dritte Album von Visible Cloaks, ist ein Werk der Entstehung und Illusion. Die vierzehn Songs des Albums verschieben, heben und schimmern vor einem schwach leuchtenden Hintergrund der Nacht, einem höhlenartigen Raum, der durch spärliche hyperreale Darstellungen der natürlichen Welt geformt wird. Die Arrangements sind gleichzeitig grandios und zerbrechlich, sowohl eine Umkehrung als auch eine Kulmination dessen, was zuvor kam, und so abenteuerlich wie alles, was sie bisher produziert haben. Seit ihrer Umwandlung von Cloaks zu Visible Cloaks im Jahr 2014 haben Spencer Doran und Ryan Carlile eine komplexe Matrix gegensätzlicher Konzepte entworfen: organisch und künstlich, zufällig und bewusst, authentisch und repliziert. Der Albumtitel, der aus dem satirischen Portmanteau des Autors Alex Shakar aus ,paradox" und ,essence" stammt, spiegelt diese Spannungen direkt wider: Die Paradessence von Konsumgütern ist der ,schismatische Kern", der ihre Attraktivität ausmacht (in Shakars Beispiel ist Kaffee begehrt, weil er gleichzeitig entspannend und anregend wirkt). Der Balanceakt von Paradessence verleiht diesen Spannungen eine größere Dringlichkeit, da das Leben im 21. Jahrhundert durch eben diese Spannungen neu geordnet wird. Stille ist ein wichtiger Charakter in Paradessence, der nicht nur in der Gestaltung des Klangs zu spüren ist, sondern auch in dem Druck, den er auf alles und alles, was entsteht, ausübt. Die Gruppe ließ sich vom Konzept des ,positiven Raums" des Architekturtheoretikers Christopher Alexander beeinflussen, einer Idee, dass der Form der Leere um ein Objekt herum die gleiche Aufmerksamkeit geschenkt werden kann wie der Konstruktion des Objekts selbst. Wir hören, wie Klänge ihre eigene Stille in sich tragen, zwischen Existenz und Nicht-Existenz oszillieren und wie Mikroorganismen Lebenszyklen durchlaufen. Die Instrumente, die Paradessence untermauern, haben etwas Kollektives an sich. Sie bewegen sich wie eine Herde, so wie wenn der Wind über ein Feld voller Blätter weht und die Luft in der Abwesenheit von Bewegung sichtbar wird; mehrere Arten leben in derselben Melodie zusammen, treten hervor, ziehen sich zurück und verwandeln sich im Laufe von mehreren Minuten. ,Anstatt Stücke zu schaffen, die horizontal als Umgebungen funktionieren", sagt Doran, ,wollten wir sie als lebendes Material konzipieren, das sich im Raum verändert und ständig im Fluss ist." Die Songformen entfernen sich von der Atmosphäre und tendieren zur reinen Abstraktion. Utopismus schwebt am Rande; eine Beziehung zu imaginären Zukünften, die weder naiv, zynisch noch nostalgisch ist. Die Welt, die Visible Cloaks im Laufe der Zeit aufgebaut haben, wird oft von Mitwirkenden physisch umgesetzt, von denen eine vertraute Besetzung für Paradessence zurückkehrt. Motion Graphics (Joe Williams) ist auf ,synthetic woodwinds" zu hören und hat das Album mitgemischt, wobei er ihm mit seinem charakteristischen Glanz Kontur verliehen hat. Die miteinander verbundenen Stücke ,Shapes" und ,Thinking" wurden zusammen mit den Innovatoren der Umweltmusik Yoshio Ojima und Satsuki Shibano entwickelt, die auch mit dem Duo an der generationsübergreifenden FRKWYS-Kollaboration serenitatem gearbeitet haben. Das letztere Stück enthält einen von Ojima verfassten gesprochenen Text, der von Shibano auf Japanisch und von der Komponistin und langjährigen Freundin Félicia Atkinson auf Französisch gelesen wird. Das Componium Ensemble, Dorans Projekt für ,unbestimmte Kammermusik" mit selbstspielenden Software-Instrumenten, bildet die Grundlage für ,System" in einem Moment von Pessoa-scher Heteronymie. Auf dem Album ist auch Ioana Selaru zu hören, eine rumänische Komponistin und Violinistin, die ,Intarsia" mit ihrer Stimme und ihrem Streicherspiel bereichert. Doran beschreibt ihre Zusammenarbeit als ,eine Übung in illusorischer Präsenz", die sie gemeinsam aus ,der Idee entwickelt haben, ihr reales Instrumentenspiel virtuellen Instrumenten gegenüberzustellen, um die Grenzen zwischen synthetischen Streichinstrumenten und denen, die in der Realität existieren, zu verwischen". Selarus energiegeladene Darbietung in ,Intarsia" ist ein deutlicher Beweis für den dramatischen Kern von Paradessence: ein dringliches skulpturales Unterfangen, ein Instrument und eine menschliche Stimme, moduliert von einem Meer synthetischen Wachstums. Doran beschreibt, wie für ihn ,dieses Verschieben zwischen dem Realen und dem Virtuellen etwas ganz anderes einfängt, etwas Seltsames und Unbeschreibliches, das ein fester Bestandteil des Lebens in der digitalen Moderne ist, sowohl online als auch im realen Leben". Es ist elektronische Musik, die nicht nur durch ihre wechselnden Formen eine abstrakte Darstellung unserer aktuellen Traumrealität heraufbeschwört, sondern auch imaginäre Räume schafft, die emotional nuanciert sind und zu Momenten der Anmut führen.

Step into a candy box of sound: sweet Italo-infused house and tangy, bass-heavy breaks. Some tracks hit like hard candy, daring you to bite, while others are sticky and irresistible, gluing you to the dancefloor. B.Visible tasted all the sweet treats without losing a tooth, but the synths took a proper beating. On this DJ tool, you'll find a track for every part of your set, with a package that nods to '90s electronic music without losing its timeless charm.

B.Visible is a Vienna-based DJ and producer. His sets blend danceable beats with a strong musical vision - ranging from disco and house to breaks and experimental electronics, complemented by rare vinyl discoveries. Each selection is surprising, versatile, and curated with great attention to detail. His productions are just as multifaceted as his DJ sets: warm drums and organic textures meet carefully crafted electronic elements designed with the dancefloor in mind. The result is a distinctive signature style - accessible, diverse, and independent. His music is regularly featured on Austrian radio stations such as FM4 and receives international
support from BBC DJs including Gilles Peterson, Tom Ravenscroft, and Don Letts. B.Visible's music thrives on surprise and depth - whether in the studio or on stage, it always unfolds with a unique dynamic, drawing audiences in from the very first moment.

Two Piers proudly announces the upcoming release of Bridges Towards Open Spaces: Circadian Rhythms 1967–2025.

This new collection brings together a wide range of artists and styles, weaving immersive sonic landscapes that explore a connection between natural cycles and the rhythms within.

Featuring artists such as Brian Eno, Moebius, Roedelius, Meat Beat Manifesto, Fun Boy Three, Daniel Avery, and Spectrum, the compilation moves fluidly between shimmering ambient textures and raw, straight-ahead garage rock.

Bridges Towards Open Spaces: Circadian Rhythms 1967–2025 follows in the footsteps of Two Piers acclaimed previous releases, Night Train: Transcontinental Landscapes 1968–2019 and Music for the Stars: Celestial Music 1960–1979, continuing the label’s exploration of expansive, time-spanning musical journeys.

“I wanted once again to shape a compilation around a time period, this collection is a nod to my days behind the counter of a record shop, the people I met and the styles of music that was played and I was introduced to. Some are from that time, some are of the style/feeling, that I can associate & with the friends I met there; from the early shift to the late shifts as the tempo rose throughout the day and the neons of London started to buzz”

The album will be available on Limited Vinyl and CD in May, arriving just in time for the longer, warmer days and the shifting light of the Seasons Sun.

Two Piers proudly announces the upcoming release of Bridges Towards Open Spaces: Circadian Rhythms 1967–2025.

This new collection brings together a wide range of artists and styles, weaving immersive sonic landscapes that explore a connection between natural cycles and the rhythms within.

Featuring artists such as Brian Eno, Moebius, Roedelius, Meat Beat Manifesto, Fun Boy Three, Daniel Avery, and Spectrum, the compilation moves fluidly between shimmering ambient textures and raw, straight-ahead garage rock.

Bridges Towards Open Spaces: Circadian Rhythms 1967–2025 follows in the footsteps of Two Piers acclaimed previous releases, Night Train: Transcontinental Landscapes 1968–2019 and Music for the Stars: Celestial Music 1960–1979, continuing the label’s exploration of expansive, time-spanning musical journeys.

“I wanted once again to shape a compilation around a time period, this collection is a nod to my days behind the counter of a record shop, the people I met and the styles of music that was played and I was introduced to. Some are from that time, some are of the style/feeling, that I can associate & with the friends I met there; from the early shift to the late shifts as the tempo rose throughout the day and the neons of London started to buzz”

The album will be available on Limited Vinyl and CD in May, arriving just in time for the longer, warmer days and the shifting light of the Seasons Sun.

The eleventh release from label Early Morning, run by Guy J, presents a three-track EP totaling 22 minutes and 23 seconds, reinforcing his position as one of the most disciplined and forward-thinking figures on the global scene. Despite intercontinental recognition, Guy J continues to approach his work with restraint and focus, treating sound not as a finished achievement but as an ongoing exploration. His imagination remains a constant source of carefully developed ideas that resonate through a restrained yet expressive intensity.

The opening track, Piece of Cake, sets the tone with confident momentum, unfolding through a precisely balanced structure where hypnotic rhythm meets expansive spatial design. Selector expands the palette with a fierce bassline drive, textured atmospheres, random squeaks, and euphoric build-up, building on the opening piece and taking the vibe into psychedelic territory.

The release concludes with Against the Wall, a composed and decisive finale. Strong rhythmic foundations, paired with suggestive female narrative vocal samples, bring the record to a resolved and coherent close.

Shaped from fragile, emotionally charged piano motifs that distort, disappear and transform into dense, cinematic textures, 'CANALS' is a debut that's finely matured, the result of years of friendship and growth. Italian artist Vanja Sturno and Montréal-based Belgian-Spanish composer Pablo Geeraert (aka Sanea Ima) have worked together extensively on various projects up until now, but 'CANALS' is their first official release as a duo. Having both studied music academically, the pair were eager to work more intuitively, so applied their well-honed set of skills to sound that, instead of fitting into a conceptual box, reflected more personal experiences.

Back in 2023, Geeraert travelled to Rome to support his friend at a difficult time and, during the trip, received some bad news of his own. The complicated feelings unconsciously surged through a series of delicate Ryuichi Sakamoto-inspired piano improvisations and a new project began to coalesce. They didn't realize it at the time, but once the record was finished, Sturno and Geeraert began to understand that the entire process had been a form a joint catharsis - a release of pressure. They were able to function so effortlessly and swiftly because they had already provided the space for each other to resonate emotionally and the music flowed from that point.

So the album's title, while remaining ambiguous, suggests its formation: a sequence of eight interconnected channels that feed a creative whole. On the first segment, Sturno and Geeraert's initial recordings can be perceived most nakedly, the melancholy, Satie-like phrases floating peacefully for a moment before the tranquility is agitated by stormy distortions and swelled into thick waves of harmony. The piano provides the record with its emotional anchor, offering focus and clarity as multi-dimensional noise wells up around it before inevitably dissipating, leaving gentle, unadorned sounds once again.

And the familiar instrument is reshaped into a wheezing artificial organ on the animated 'CANALS III', punctuated by percussive, tape-warped pitch fluctuations that seem to bite into its very essence. Gauzy acoustic granulations snowball into a powerful, bass-heavy crescendo on the fourth part, setting the tenor for the album's second half. But after the crushing 'CANALS VI', possibly Sturno and Geeraert's heaviest track, a brief tremolo-heavy vignette that ripples through experimental rock and ambient music's braided history, the duo clear the air with a jazzy diversion, introducing soft woodwind blasts as a palate cleanser before an epic, widescreen finale.

It's an album that's best absorbed as a whole, a vortex of ritualistic, rhythmic repetitions that Sturno and Geeraert appropriately refer to as "spiral listening".

Decibel Place arrives on Dorbachov's Scrap & Delete with the 'Swarm' EP landing on 8th May 2026, coming with a remix from Belgium's Steve Redhead. Known for navigating the darker, more experimental edges of the genre while maintaining driving, floor-focused energy, the Liverpool-based Decibel Place has previously delivered on labels including Materialised, Transition, MASS, and Khazad Records. As a DJ, he continues to earn attention with his tightly constructed sets across the hardgroove circuit, a sensibilitycarried through this latest body of work. The EP opens with the title track 'Swarm', setting the tone through immersive, tension-building arrangements. Undulating sound design and tightly interlocked rhythms draw the listener into a dense, atmospheric space, rich in detail and forward motion. Steve Redhead steps in on remix duties, reworking 'Swarm' into a stripped-back, percussive cut defined by clarity and control, where subtle shifts in rhythm and texture drive a deeper, hypnotic propulsion. 'Infection' follows with a shift into more industrial territory, introducing broken rhythms and raw, mechanical textures that sharply punctuate the groove. Closing track 'Smoking Kills' leans fully into hardgroove territory, with driving drums and visceral energy bringing the EP to a powerful, club-ready finish.
Decibel Place's 'Swarm EP' comes via digital and vinyl on Scrap & Delete on 8th May 2026.

Irish drone-doom-folk act One Leg One Eye, the project of founding Lankum member Ian Lynch and veteran noise monger George Brennan, announce their new album, CRONE, out on 1 May on AD 93.

Today the group share the first track on the album, ‘Many are my Names Besides’, on which they are joined by the elemental force that is legendary actor, performer, writer and director Olwen Fouéré (Operating Theatre) contributing vocals.

Olwen Fouéré comments:

“When Ian and George first approached me to work with them, they were already creating the Crone album as a sonic invocation of the ‘sovereignty goddess’, who personifies the land and the legitimacy to rule it, in her darkest and most terrifying form. As we spoke, the triple goddess figure of the Morrigan entered my mind, reinforced by a marked presence of crows every time we met. The Morrigan is essentially a war goddess, frequently appearing as a crow in a battlefield, a death prophet, a guardian of sovereignty, and a very powerful figure in Irish Mythology.

So I invoked her energy as a starting point, using text extracts that Ian sent me from the Ulster Cycle and other sources. The voice recording was done in one day, improvising the source material while the already composed music occupied my psyche through headphones.

Listening back, at this time in our world, I can only wonder at how much blood and war the Crone/ Crow of sovereignty is preparing to unleash now. Watch out.”

CRONE is the second album from Lynch and Brennan, following on from 2022’s slowburn slab of ambient grit, …And Take The Black Worm With Me. Bewildering, psychedelic and ultimately transcendental, the four tracks of One Leg One Eye’s CRONE shapeshift and morph endlessly in a coarse miasma. Traditional song structures and vocal melody are eschewed, instead the trio directly channel energies from the rich seams of mythological significance submerged below the Irish psyche. The anger, rage and beauty of the sovereignty goddess burn a consistent and deliberate line through the album in the form of obscure incantations and dire pronouncements, the gnarled sinews that bind it all together.

Just as the subject matter of the tracks delve deeper into Irish myth and the remote past, the temporal reality of the album reaches back into the bands prehistory, with the majority of it the material being recorded by Lynch and Brennan in 2021 before One Leg One Eye was conceived of as an entity with Brennan working on the CRONE project while Lynch worked on …And Take The Black Worm With Me.

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head.

She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within.

"Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?"

"Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws."

"It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?"

"Calib," she answers.

"That is not much of a name," says Conaire.

"Lo, many are my names besides."

"Which be they?" asks Conaire.

"Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, Bloár, Huae, óe Aife la Sruth, Mache, Médé, Mod."

On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

Peach’s Soak Vol. 1 is a cross-Canadian link-up with Mood Hut that moves through slower, deeper waters.

The mini-LP was written after a tour through Asia that opened up something new in how Peach approaches making music. The turning point, as she tells it, came during a visit to a neighbourhood sento in Tokyo, while surrounded by steam rising in suspended time, something clicked about the relationship between the body and the sounds she wanted to make.

She’d been learning about cycle synching and working out with the phases of her hormonal cycle, respecting energy fluctuations throughout the course of a month, and decided to apply the approach to writing music. She allowed shifts in energy to guide tempo, density, and emotional tone rather than strictly answering to the floor.

Soak came out of this exploration, sketched and layered with field recordings from her trips to Vietnam and the Philippines during a challenging time in her life. Fragments of heat, air, and shoreline are absorbed into the music itself. Vapourous pads, low-end weight, fractured percussion, and melodies hover at the edge of dissolution. Water runs structurally through the record in surges, in tidal pacing, in the slow accumulation of texture.

Wherever this music finds you, please enjoy the Soak.

Time To Get On Board A New Black Universal Express.

With each new recording Anthony Joseph presents an imaginative, personal vision of contemporary black culture, and The Ark is yet another compelling album by the award-winning Trinidadian poet and musician. This second part of a sequence of two albums launched with last year’s Rowing Up River To Get Our Names Back, finds Joseph giving full vent to his desire to explore many thought-provoking themes. However, there is a specific thread running through the glorious offering of sounds.

”I was especially interested in the idea of using Afrofuturism as a means of using the future in order to correct the wrongs of the past,” explains Joseph. “And so a lot of lyrics reimage or imagine an alternate black history. At the same time there are elements of autobiography.” The aforesaid cultural phenomenon, a view of the black experience through the prism of science fiction and ancient Egypt and Africa, as mapped out by visionaries from music and literature such as Sun Ra, Parliament-Funkadelic and Octavia E. Butler, has previously inspired Joseph. His 2006 novel The African Origins Of UFOs was a multi-hued work, and the new music shows how Joseph

has, much like all significant artists, gone on to broaden his conceptual palette, creating beguiling new stories and images set to startling rhythms and tones. Tracks such as ‘James’, with its taut, crisp bass and dubbed-up brass, and ‘Transposition Of Space (Glissant)’, a potent evocation of the influential Martiniquan theorist set in a haze of jazz guitar and ambient synthesizers, are marvels of text-sound painting.

As for ‘Baron Samedi’, shaped by a languid, almost wounded guitar line and slow rise of horns that frame Joseph’s journey to the ‘mountain of fire, almost touching the sky’ it is an epic blend of commanding vocal delivery and dramatic sonic tapestry.

Joseph led the Spasm band in the early 2000s and recorded well-received albums such as Bird Head Son and Time, in which songs were largely based on spirituals or chants enhanced by improvisation. But his musical curiosity has naturally led to collaborations, and the new work is produced by Dave Okumu, the prodigiously talented guitarist-vocalist-composer known as the leader of Mercury Music Prize-nominated The Invisible, and who was also a member of the seminal band Jade Fox.

Having first performed together at a show curated by influential saxophonist-flautist Shabaka Hutchings at the storied Total Refreshment Centre In London during lockdown, Joseph and Okumu struck up a rapport that further developed when the former guested on he latter’s album. With the connection made Joseph knew Okumu was the ideal producer for this latest project, which has a freewheeling, almost black psychedelic thing. After sifting through demos and loops the guitarist made on pro-tools the poet started to live with the music. Many months later words began to take shape. Joseph then went into the studio with Okumu’s band and set about creating a magnum opus. Boasting a stellar cast such as vocalist Eska Mtungwazi, trumpeter Byron Wallen and keyboardist Nick Ramm, The Ark is a highly intricate musical mosaic framed by simmering funk grooves, wily jazz improvisation and haunting dub effects. Through the use of many genres the music has simply become its own genre.

The Ark can be perceived as a vessel or means of transport to new worlds, along the lines of Sun Ra’s Ark or Funkadelic’s Mothership, and the material it contains is a unique blend of who Anthony Joseph is and how he sees the world and society in these stimulating, challenging times. “It balances the personal with the universal in a much more vulnerable, accessible way than on previous albums,” Joseph explains.

“It has become less about a personal experience and more about a collective, communal experience in which the artist is conduit, messenger, urban griot.”

Berlin-based duo Mug present their debut album 'The Well'. With a range of influences from no-wave, shoe-gaze, rock, and ambient, “Mug’s” emotional rawness refracts through a lens of spectral soundscapes and austere textures.
Intimate and sincere, 'The Well' is about licking your wounds after a breakup, finding light within the cracks and letting it grow.
Ludwig Wandinger and Yves B Golden began their musical collaborations based on mutual respect and interest in each artist's vastly different backgrounds. Golden grew up singing in her grandmother’s pentecostal church, but is known widely for published essays and poetry. Wandinger, is an internationally acclaimed drummer, music producer and visual artist, interacting in various fringe music scenes.
What began as long distance collaborations released under various outlets such as Caterina Barbieri´s light years, Wandinger and Golden, now living in the same city, morphed into a protracted exploration of songwriting and improvisation, a process defined by immediacy and unfiltered expression: “first thought, best thought.”
Though “The Well” marks the first release from this impulse driven duo, this album promises an ongoing evolution, or discovery, wherein genre specificity is inconsequential.