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Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.

Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.

Bristol trio Jabu return with their first release for two years. Following on from their widely acclaimed third LP ‘A Soft and Gatherable Star’, this stand-alone double A-side Disco Mix 12” features four exclusive new tracks, while signposting fresh material currently being written, recorded and mixed for their forthcoming LP, due 2027.


If 2023 LP ‘Boiling Wells’ documented Jabu learning to be a live band, leaning into writing collectively in-the-moment, ‘A Soft and Gatherable Star’ took that record’s ad-hoc/mixtape blueprint, and fleshed out their transformation from an outfit rooted in hiphop and dubstep, to a guitar-based band with a unique take on dream-pop. It saw them described by The Face as “an experiential trio blending the raw edge of industrial dub with dreamy layers of ambient pop and shoegaze", and by The Wire as “like Mazzy Star remixed by The Mad Professor“.


Jabu have continued to grow in the space between releases, touring regularly for the first time, playing festivals such as Rewire and Le Guess Who?, and supporting the likes of Maria Somerville and AR Kane. Their extended live line-up now regularly incorporates those that contributed to ‘A Soft and Gatherable Star’, with new material often further developed as it gets passed back and forth between collaborators. Cellist Josh Horsley (Powders / Nightingale Floor) and multi-instrumentalist Will Yates (aka Memotone) both feature here, under the guiding hand of Birthmark’s mixing.


Titled after the rural, estuarine landscape bordering their Bristol hometown, ‘Severn Flood Plain’ sees the band pivot towards a more jagged and up-tempo, post-punk sound. It runs on a nagging drum machine pulse that feels closer to Joy Division than Sly Stone; while the echo-laced vocals and tremolo guitar phrasing hark back to the ‘50s slapback sound of Lee Hazlewood or Duane Eddy. Written and sung by Jasmine Butt, the lyrics describe a visit to a friend near the mouth of the Severn, and hint towards a darkness that can also be felt across that tidal landscape.


Dropping the pace to a languorous, sensual sprawl, ‘Where You Run To’ is plaintive and yearning, an opiated, ethereal flipside to ‘Severn Flood Plain’s more urgent, anxiety-laced opener. Alex Rendall’s vocals glide over a stripped, metronomic backdrop, eventually entwining with Memotone’s ghostly, processed clarinet.


If the band’s musical reference points appear to have shifted, their process remains indebted to dub and still very much rooted in the multicultural cross-pollination peculiar to their home city of Bristol. Both tracks are extended, with dub versions courtesy of Birthmark. The band sat in on those sessions, completing the circle that began with J’s on-stage mixing of their live sets. The strands provided by Will and Josh provide introspective counterpoint to the sound system leanings.


Jabu’s influences are threaded together as naturally here as on their long-running NTS radio show, ‘Music For Lovers’, which now occasionally guests on the Early Bird show slot. They are due to play World of Echo’s ‘Expected Music 2.0’ at London’s Walthamstow Trades Hall on 21st November with Loopsel, Insides, Giulio Erasmus, Thomas Bush, and Raime amongst others.

Wewantsounds is proud to present the first official release of a legendary 1977 concert capturing Don Cherry, Collin Walcott, and Leon Thomas in their only documented performance together. Recorded live on March 5, 1977, at Pease Auditorium in Ypsilanti, Michigan, the performance featured the three musicians playing an immersive hypnotic set, joined for part of the evening by the rest of Oregon. Long circulating among a few Don Cherry fans, the full concert is now available as a deluxe, remastered 2-LP gatefold set featuring Moki Cherry artwork and new liner notes by Jason Weiss—licensed by the Don Cherry Estate and producer James Quinlan.


Don Cherry’s huge influence has steadily grown over the years, as fans and new generations of listeners continue to uncover the vast breadth of his global musical vision. Sunrise captures Cherry during a particularly fertile late-1970s period, when the American jazz trumpeter blended global and Eastern spiritual concepts into his "Organic Music" philosophy, drawing deeply from Eastern and African traditions. Moving fluidly between trumpet, the West African doussn'gouni (a traditional hunter's harp from Mali), bamboo flutes, percussion, and vocals, Cherry creates a deeply resonant world music soundscape.
Recorded live on March 5, 1977, at Pease Auditorium in Ypsilanti, Michigan, the show took place just a month after Don Cherry participated in the recording of Collin Walcott's ECM album Grazing Dreams. With Walcott playing alongside Cherry and vocalist Leon Thomas, bringing his unmistakable yodel-style vocal approach—and joined for part of the night by the rest of Oregon (Ralph Towner, Paul McCandless and Glen Moore)—the performance stands as a stunning, hypnotic forerunner to the formation of CODONA. The newly remastered audio is so vivid and intimate that it feels as though you are sitting directly in the room with the musicians.
The release also serves as a vibrant homage to Don and Moki Cherry’s creative partnership, featuring a reproduction of Moki’s striking 1975 Mandala tapestry on the front cover.
The concert was produced by James Quinlan, a central pillar of the U.S. Jazz and World Music scene who worked as a sound engineer for Carla Bley, booked Fela Kuti’s major U.S. tour in the 1980s, and went on to direct the Creative Music Studio and found Miami’s Rhythm Foundation. In the album's liner notes, Quinlan reflects in conversation with writer Jason Weiss on the surprise magic of that night:
"Don brought Leon Thomas with him... as a guest, unannounced. It was not part of the advertisement or contract... I don't know of any other time that they recorded or performed together. So, that was completely unique... The audience had no idea what was coming... It was a sound that was just mesmerizing, almost like a mantra."
Licensed by the Don Cherry Estate and James Quinlan, Sunrise is available as a deluxe 2-LP gatefold set featuring new liner notes by Jason Weiss—an essential document in the rich, ever-evolving Don Cherry musical journey.

Armada Music and PDD proudly continue the brand-new A State Of Trance Classic Series, celebrating some of the most legendary and influential records in trance history. Following the success of Volume 1, Volume 2 once again dives into the archives to bring three essential trance classics back to life on fresh vinyl.

Kicking things off on Volume 2 is “Chicane feat. Moya Brennan - Saltwater”, a true trance classic that showcases the sound and energy that helped define the genre during its golden era. Originally released in 1999 on Xtravaganza Recordings, the track quickly became a favourite among DJs and trance fans, and now returns to wax as part of this essential new series.

On the flip is “Veracocha - Carte Blanche (Extended Mix)”, another highly regarded classic from the A State Of Trance catalogue. Originally released in 1999, the track has stood the test of time and remains a firm favourite with trance DJs and collectors, making its return to vinyl a welcome addition to the series.

Last but not least is “Insigma - Open Our Eyes (Original Mix)”, completing another carefully selected trio of timeless trance records. Originally released in 2000 on A Trance Communication Release, this classic perfectly captures the euphoric, driving sound that made the era so influential and continues to resonate with trance fans today.

Volume 2 continues the series in style, bringing together three essential trance classics on one piece of wax and making this a must-have for both long-time A State Of Trance fans and a new generation discovering these timeless anthems.

Australian psychedelic rock band Druid Fluids return with Pareidolia, an ambitious second album exploring perception, superstition and the human instinct to find meaning in patterns, whether real or imagined.

Written and recorded in Adelaide at songwriter and producer Jamie Andrew’s home studio, Pareidolia unfolds across ten expansive and immersive tracks that push the possibilities of psychedelic music. Released by Australia's Third Eye Stimuli Records, the album arrives as a 2LP vinyl exclusive that includes a D-Side with bonus tracks taken from the recording sessions.

Psych-rock and melodic pop collide with krautrock rhythms, cinematic dreamscapes, classically inspired arrangements and experimental production. No two songs inhabit quite the same world, and the album never lingers in one room for long.

Influenced by the inventive songwriting of The Beatles, The Beach Boys and Frank Zappa, the atmospheric sophistication of AIR and contemporary psychedelia from Tame Impala, King Gizzard and Melody’s Echo Chamber, Druid Fluids balance vintage warmth with a distinctly modern sense of possibility.

Pareidolia is hypnotic, intimate and surreal. Melodies twist and reform, rhythms circle back upon themselves and subtle motifs appear like half-recognised symbols. Its labyrinthine passages and dream-logic imagery invite listeners into an immersive space where clarity and confusion remain in constant negotiation.

Pareidolia follows the band’s acclaimed 2023 debut, Then, Now, Again & Again, whose first vinyl pressing sold out worldwide. Since then, Druid Fluids have toured Europe and shared stages with The Brian Jonestown Massacre, Wolfmother, Psychedelic Porn Crumpets, The Murlocs and Amyl and the Sniffers.

Immersive, melodic and wonderfully unpredictable, Pareidolia is a psychedelic masterpiece that rewards repeat listening, revealing new details and hidden connections with every spin.

built on the stripped-down, sinister production and uncompromising lyricism that have become signatures of both artists.

A longtime collaborator within the Real Bad Man universe, Mooch previously appeared alongside Rigz on Real Bad Boldy and the On High Alert series, steadily establishing himself as one of the sharpest voices to emerge from Rochester’s underground scene. Across Terminator Shit, Real Bad Man provides a dark, cinematic backdrop for Mooch’s precise, hard-edged writing, with “Mercy” setting the tone for the project’s grim and focused sound.

The album features guest appearances from Boldy James, Your Old Droog, Estee Nack and Deener, bringing together a tightly curated cast of some of contemporary underground hip-hop’s most distinctive voices.

The comic book-inspired artwork was created by underground comics legend Lawrence “Rawdog” Hubbard of REAL DEAL COMIX, extending the album’s dystopian aesthetic beyond the music itself.

Terminator Shit will make its debut on vinyl:

I love the shared experience of music more than almost anything, but the longer I exist in the industry, the harder it is to stay emotionally connected to an album once it’s reduced to numbers and statistics. So I wanted to release this in a way that feels more human—and affordable, especially in wartime. Your support helps create more music, not ads for ICE. Someday the machine will get it, but for now I just want this to feel like an experience again.

Reconcile at the Tile Works, Recorded Live, was captured inside Moravian Tile Works in Doylestown, Pennsylvania. A place built by artist Henry Chapman Mercer, who spent the early 1900s shaping tiles by hand, one at a time. No shortcuts. Just craft, fire, and time. That spirit is all over this record. Some of these songs I haven’t played in years because of how they made me feel and what they conjured in me.

Reconcile at the Tile Works, Recorded Live, won’t be on streaming services. Because art and music deserve more. If you want to hear it, go where music still lives:

Support artists directly. Support the shops that keep the culture alive.

Eine limitierte 7"-Single von ARMITAGE SHANKS! Die A-Seite stammt von der kommenden LP "Charge Of The Shite Brigade" Die B-Seite gibt's exklusiv auf dieser Veröffentlichung! Limitiert auf nur 300 Exemplare! Die neue Besetzung von Armitage Shanks (zu der jetzt auch Billy Childish und Wolf Howard gehören) veröffentlicht eine brandneue 7"-Single als Vorab-Single zum neuen Studioalbum Charge Of The Shite Brigade. Eine der beliebtesten und dienstältesten Bands von DAMAGED GOODS. Armitage Shanks gibt es schon fast seit den Anfängen des Labels. Wir sind total begeistert, dass sie immer noch dabei sind und brillante Platten machen! Diese hier gehört definitiv zu ihren Besten! ENG A limited 7" from ARMITAGE SHANKS! A-side taken from the forthcoming LP Charge Of The Shite Brigade B-side is exclusive to this release! Limited to 300 copies only! The new line-up of Armitage Shanks (which now includes Billy Childish and Wolf Howard), releases a brand-new 7" ahead of the new studio album Charge Of The Shite Brigade. One of DG's most loved and longest serving bands. Armitage Shanks have been around almost since the start of the label. We're dead chuffed they're still around and making brilliant records! This one is up there with the best of them!

Originally released 1996 on the short-lived Picnolypsis Records (DE) - Down D.C. and Analog Consciousness take a side each for a raw, stripped-back excursions into underground acid house. Driven by hypnotic drum programming, rolling low end and corrosive 303-style lines, the record captures the rough-edged spirit of mid-90s European club music. Long buried in obscurity, the record's reputation has quietly grown amongst DJs. The spotlight now shining on it further after Down D.C.'s Acid-House Part 2 was played on Shanti Celeste’s BBC Radio 1 residency.

This first time re-issue features a remix from Pacific Coliseum - alter ego of Canadian artist Teen Daze.

Epicentre was an R&B/funk group formed in Seattle, Washington by keyboardist Ric Ulsky. The band developed a loyal following, playing the extensive NW club, concert and dance venues throughout the mid-to-late 1970s. Their sound was a blend of melodic R&B and powerhouse funk that dependably filled music venues throughout the Western US. Bernadette Bascom was the lead vocalist, who captivated audiences with her powerful yet velvet-smooth voice and commanding, magnetic stage presence.

In 1978, Epicentre worked with Seattle producer Don McKinney to record their music in Seattle's now legendary Kaye-Smith studios. The result was seven strong, fully -produced R&B songs, with occasional horn and string orchestrations tastefully added to the final versions.

Their music quite literally sat on a shelf for decades until McKinney decided that all the hard work and talent should no longer remain undiscovered and it needed to find its audience. He restored and digitized his copies of the master tapes and looked for an opportunity. A chance call to the former leader of the group, Kell Houston, led to a serendipitous introduction to UK boutique/funk/R&B label founder Russell Paine. The result was an agreement to release their music, starting with two songs, "When You Were In Love With Me", and "Magic Carpet."

And now the follow up single of "Searchin/Tongue Tied"

Footnotes: Lead singer Bernadette Bascom became a protegé of Stevie Wonder, and was the first artist to be signed to his label Black Bull , starting a period of collaboration between the two. Bermadette is the daughter of Reverend Dr. Marion C. Bascomb (1925-2012), one of Baltimore's major civil rights voices and pastor emeritus of Baltimore's Douglas Memorial Community Church. Ric Ulsky eventually left the group to play keyboards and tour extensively with The Association. You can also find Epicentre's music on the compilation album "Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987." In addition to Bernadette, the musicians on the 1978 sessions are Kell Houston, keyboards, Michael Cox, bass, John Carmondy, guitar, and Ricky Lynn Johnson, drums and vocals. While their recorded material is primarily original, Stacy Christensen from Seattle's Gabriel contributed two of his compositions.

Fresh Milk Records proudly presents the launch of its new repress series, Fresh Milk Rewind. The first release, FMRW001, revives three legendary Gass Club anthems originally released in 1998. Featuring rolling grooves by Daryl Bryant and lush vocals by Jo Bryant, this timeless EP has become a must-have for serious collectors. Long-sought after due to its limited original pressing, it is now available once again.

California’s beloved Brainstory returns with a new EP celebrating the end of an era. Shoebox Days is an homage to the time spent and the recordings made at their now defunct Long Beach studio, aptly named Shoebox. As the name suggests, the space was tiny and stuffed with gear. While charming, it was riddled with constraints. But, as has been proven time and time again, great art often comes from difficult circumstances, and this new 7 song EP is further proof. The first track, “The Watchers,” opens with an earworm horn melody that immediately pulls you in. The crunchy drums and G Funk bass tones put a bop on it, lush orchestration weaves in and out and sets a mellow vibe. “Blend,” one of only two vocal tracks on the EP, is a California sunshine soaked love song walking the lines of psych rock ballad and B side soul. ”Twin Kitchen” leans you right back into your seat, with Eric Hagstrom’s in-the-pocket drumming carrying the tune.

“Home Alone” is singer Kevin Martin’s ever so relatable tribute to time by himself, time by today’s standards as “disconnected,” but in reality, much more connected… The fellas let some of the jazz background take front stage on “Lone Traveler,” starting out with an air tight groove, and letting loose over it as the track progresses. “Gravity Hill” named after the famed California oddity begins the ending of the EP as Brainstory takes it deep and brings us with them. “Necessary Loss” serves as the closer to this gorgeous journey.

California’s beloved Brainstory returns with a new EP celebrating the end of an era. Shoebox Days is an homage to the time spent and the recordings made at their now defunct Long Beach studio, aptly named Shoebox. As the name suggests, the space was tiny and stuffed with gear. While charming, it was riddled with constraints. But, as has been proven time and time again, great art often comes from difficult circumstances, and this new 7 song EP is further proof. The first track, “The Watchers,” opens with an earworm horn melody that immediately pulls you in.

The crunchy drums and G Funk bass tones put a bop on it, lush orchestration weaves in and out and sets a mellow vibe. “Blend,” one of only two vocal tracks on the EP, is a California sunshine soaked love song walking the lines of psych rock ballad and B side soul. ”Twin Kitchen” leans you right back into your seat, with Eric Hagstrom’s in-the-pocket drumming carrying the tune. “Home Alone” is singer Kevin Martin’s ever so relatable tribute to time by himself, time by today’s standards as “disconnected,” but in reality, much more connected… The fellas let some of the jazz background take front stage on “Lone Traveler,” starting out with an air tight groove, and letting loose over it as the track progresses. “Gravity Hill” named after the famed California oddity begins the ending of the EP as Brainstory takes it deep and brings us with them. “Necessary Loss” serves as the closer to this gorgeous journey.

On March 1 2025, Kim Deal hosted a once-in-a-lifetime sold-out performance at London’s historic Barbican, playing special orchestrated renditions of songs from her acclaimed debut solo album Nobody Loves You More, followed by tracks from The Breeders’ back catalog and earlier solo work. The evening, culminating with a heartfelt standing ovation, was documented in full, to be released as a live record entitled Live at the Barbican on November 13 — arriving almost two years after Nobody Loves You More’s initial release (on November 22, 2024) and rounding out its celebrations.

Live at the Barbican finds Deal backed by a 25-piece ensemble, marking the first time in a decades-long career, that she has played with an orchestra. The idea for the performance came to Deal while mixing her solo album in Hackney: “I invited myself! That’s how I came to play ‘Nobody Loves You More’ at the Barbican. Years ago, I had worked with Chris Sharp at the 4AD label and I knew he was currently at The Barbican. So, I reached out to Chris and said I have orchestration on this record. I would love to be able to perform these songs with an actual orchestra. And Chris said yes, we’d love to have you.”

Alongside the orchestra and Shards choir, Deal was also joined by a band composed of Mando Lopez (The Breeders), Susan Voelz (Poi Dog Pondering), Lindsay Glover, Nick White (Phoebe Bridgers), and Rob Bochnik (The Frames), as well as special guest Raymond McGinley (Teenage Fanclub). The live record was mixed at Studio Black Box and mastered by Heba Kadry.

following two releases dedicated to sydney's atone, tonal oceans now turns its attention closer to home. after several years in the making, this release reintroduces the berlin trio die elektronische wohlfahrt in a revised form. nearly three decades after its original release on lab records in 1997, alongside the original 12" material, it includes two short pieces from the treffpunkt freizeit cd. die elektronische wohlfahrt was a short-lived project formed by kai kroker (rawell), peter lay, and anne westphalen. their recordings grew organically from late-night after-hours sessions in their studio in berlin's pankow district, capturing a unique blend of warm, quirky and playful textures. although their recorded output was rather limited, die elektronische wohlfahrt occupied the same creative circles as artists and friends such as move d and jan jelinek, at a time when berlin was establishing itself as one of germany's most innovative electronic music hubs. the group also performed at the legendary interference festival, one of germany's key underground electronic events of the 1990s. founded by dr. motte and uwe reinicke, the festival later evolved into interference records, where die elektronische wohlfahrt released the caro ep in 1996, further cementing the project's place within berlin's underground electronic scene. over the past few years, the music has quietly found its way into the hands of a new generation of listeners and discerning tastemakers, making its return feel long overdue.

Three Stripe Records, the original ‘Bristol Sound’ label release their first vinyl in 30 years.
Founded in 1988 by Smith & Mighty, the label was set up to release music from local talent as well as the pair’s own recordings, and in the late eighties released a string of underground hits.
The label’s first venture in ’88, a cover of Dionne Warwick’s ‘Anyone Who Had A Heart’, featured local singer Jackie Jackson alongside rappers M.C. Kelz and Krissy Kriss and stayed at the top of the indie charts for several weeks.
Now after a long hiatus, a new three-track 12” vinyl featuring Tammy Payne performing a cover of the ’60s Mandel & Webster classic, ‘The Shadow Of Your Smile’ is due to be released on 13th November 2026.
The vinyl’s three tracks capture different variations of breakbeat, dub and soul.

The A side is a break driven, dynamic bond-esque version with orchestral drops and rises, over a tough hiphop rhythm.
AA1 is a head nodding, rolling breakbeat affair with a digi dub style bassline, while Tammy’s vocal floats in and out on a sea of echo.
AA2 is the original mello mix with sparse beat machine style patterns and 303 bass line. Tammy’s full vocal carrying the flow in contrast to the urgent backbeat, occasionally joined by keys, guitar melodies and fx.
Each version having it’s own identity while all remaining very ’Smith & Mighty’

Released in the winter of 1995, Dah Shinin’ introduced Smif-N-Wessun as torchbearers of the gritty, sample-driven East Coast sound that defined a generation. Backed by Da Beatminerz’ haunting, jazz-laced production and supported by their Boot Camp Clik brethren, Tek and Steele delivered a debut that was as raw as it was revolutionary — capturing the essence of mid-90s Brooklyn.
Now, 30 years later, Dah Shinin’ returns in its most complete form. The 30th Anniversary Definitive Deluxe Edition brings together for the first time in one place, the full original album, two essential remixes "Wrekonize" and "Sound Bwoy Bureill" and rare material, including the long-unreleased “Nuttin’ Move But Da Money,” finally available officially after years on white label.
Pressed across three LPs and housed in a premium tri-fold jacket featuring original artwork, newly commissioned liner notes, period photography, and archival content, this expanded edition stands as a tribute to the album’s creation and legacy. From the underground anthem “Bucktown” to the crew showcase “Cession At Da Doghillee,” every track celebrates the timeless sound that made Dah Shinin’ a classic.

This album presents 22 live-in-the-studio BBC recordings from 1963–1965 that have never been released before. It includes all the hits and misses from that period, along with three tracks that were never recorded for EMI: Chuck Berry’s Johnny B. Goode, Jagger and Richards’ So Much In Love, and the band’s own composition Falling In Love Again—previously undocumented. For fans of The Swinging Blue Jeans, this long-awaited release is a must-have.
Sleeve notes by Peter Checksfield.

2026 Repress

The undisputed Godfather of Boogie, Leroy Burgess’s Logg project is his grand masterpiece.

The self-titled LP, originally released on Salsoul in August 1981, is one of the greatest albums of the post-disco era. It’s one of Be With’s favourite ever LPs and so it’s a complete honour to be giving it our reissue treatment. With all the touchstones of Burgess’s finest work - breezy grooves, undulating synths, funk-drenched bass and life-affirming lyrics - delivered with gospel-derived vocals and harmonies - it’s a record to uplift both body and spirit.

Already a cult soul figure as lead singer of seminal vocal group Black Ivory, Leroy Burgess cut his teeth as arranger, vocalist and songwriter with legendary producer Patrick Adams on essential late-70s projects like Phreek and Dazzle. He went on to define the essence of “boogie”: the vibrant underground dance sound that stood in contrast to commercial disco. With its reduced speed - mid-90 to under 110 BPM - the cool boogie of Burgess has the disco bounce, just more laidback.

All six tracks here could have been stand alone 12" hits. Indeed, some of them were. But together they are also an incredibly cohesive album, where all the compositions are deeply relevant to each other. In short, it’s essential; a thrilling showcase for Burgess’s finest arranging and production work - with his vocals at their euphoric peak alongside the inventive rhythm section of Aaron (Sonny) T. Davenport on drums and James Calloway on bass.

Opener “(You’ve Got) That Something” is a balmy sunshine groover with an insistent chorus whilst the timeless vocal of “Dancing Into The Stars” - married to percolating synth and airtight drums - showcases the chemistry between Burgess and the rhythm section.

The fusion of funk and gospel-influenced harmonies which propels “Something Else” is remarkable - deep, joyous and bouncy. Infamously mixed by Larry Levan, “I Know You Will” is an easy glide, all rollicking electric piano underpinned by a precise and relentlessly upbeat groove. “Lay It On The Line” radiates smooth, understated brilliance, elevated by interstellar keys and finally album-closer “Sweet To Me” is a chilled-out gem of profound soulful elegance.

Logg has long been a hit with the likes of Kenny Dope and Dam-Funk whilst, in the last decade, MCDE and Harvey Sutherland have routinely cited it as a huge influence. Accordingly, finding original copies on vinyl at affordable prices has been a thankless task. This fresh Be With reissue ensures this legendary record now sounds, looks and feels as sensational as it deserves to.

Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, we think this is a reissue that does justice to this classic LP.

This autumn sees the release of ‘En de stilstaande tijd voor (elektro-)akoestisch ensemble’ (And Stationary Time for (electro-)acoustic ensemble), the new album by composer and musician Sietse van Erve. With this release, Van Erve marks a definitive turning point in his artistic career: bidding farewell to his long-standing pseudonym Orphax to continue under his own name.

From Rewire to the Studio
The foundations for this album were laid during a memorable live performance at the Rewire Festival 2025 in Den Haag (The Hague). There, Van Erve presented the composition for the first time with an ensemble featuring Anne La Berge (flute), Gareth Davis (bass clarinet), and Dario Calderone (double bass). The leading Dutch newspaper De Volkskrant praised the performance as "incomprehensibly still", drifting on a single, drone-like tone through which the instruments softly float.
Van Erve recalls the intensity of that debut: “I don’t think I’ve ever been as nervous for a performance as I was for Rewire. A packed hall in Amare, during such a major festival”. Following a second successful performance at Festival Musica in Strasbourg, the decision was made to capture the work permanently in the studio.

A New Vision of Nostalgia
The composition originates from Van Erve’s fascination with time and nostalgia, inspired by a 1960s postcard of a Spanish village where time seemed to freeze. While based on a solo piece from 2020, the (electro-)acoustic instrumentation provides a completely new interpretation. The transition from solo electronics to an ensemble brought unique challenges. Van Erve explains: “Certain effects can be triggered with a single knob on a synthesizer, but they result in almost unplayable parts for other instruments. In those situations, I presented the challenge to the group and we searched for a solution together.’’

Identity and Evolution
The album also marks a personal transition for the artist. Regarding the departure from his moniker, he states: “I was looking for the right moment, and now it feels right. With this project, I have finally been able to do what I’ve had in my head for a long time... I feel I have achieved something, and that is why I think it is a good time to initiate the name change."

Realisation through Crowdfunding
Recorded in the spring of 2026 at Studio 150—located in a former church in Amsterdam-Noord known for its exceptional acoustics—the album was captured by Joeri Saal. The production of the deluxe vinyl LP and CD was made possible through a successful crowdfunding campaign via Dutch platform Voordekunst, where supporters contributed to the studio and production costs.

Half a century after its original release, legendary Lebanese musician and singer Marcel Khalife—renowned oud player and global icon of both music and activism—returns with a new recording. On this album, he reinterprets four of the five tracks from his debut, Promises of the Storm. A bold defiance of time and history.


Why revisit the same album, 50 years later? The reasons are many, but one stands above the rest: history itself seems to be repeating. The narrative unfolds once more in the same dire circumstances as half a century ago, as if time has folded in on itself, returning everything to its starting point. The urgency, the necessity—it all remains, pressing and inescapable. We must begin again.


In 1976, a young Marcel Khalife found himself exiled in Paris, fleeing the Lebanese Civil War and his family’s Christian village, where his progressive, left-wing ideas had placed him under a kind of house arrest. He was one of the few to openly and unwaveringly champion the Palestinian cause. The situation quickly became untenable, especially since, just a month before the war began in March 1975, Khalife—fresh out of the conservatory—had given his first public concert to great acclaim. Then, everything collapsed. What does one do when trapped at home? Read books, play the oud, and turn those readings into songs. In his family’s de facto prison, Khalife began setting the poetry of the great Palestinian poet Mahmoud Darwish to music. These songs, born of confinement, he carried with him into exile, driving to Paris where a producer offered him the chance to record an album. Naturally, the tracks were the ones he had been improvising at home from Darwish’s poems. The album’s title, Promises of the Storm, echoed the war that was just beginning. Khalife recalls that the album became a hit after a concert at the Fête de l’Huma, where 500 copies were sold in a single day. “Everything started there, and it never stopped,” he remembers. He would meet Mahmoud Darwish shortly after, at a dinner organized by mutual friends. From that moment, a deep friendship blossomed between the two men.


With Darwish’s words and Khalife’s music, the songs of Promises of the Storm are imbued with a powerful evocative force—melancholy, tenderness, and poetic resistance in the face of violence. The album catapulted Khalife to international stardom, leading to endless tours and recordings, yet he never abandoned his commitments.


Now, 50 years later, Promises of the Storm returns in a fresh recording, because history is repeating itself. After the Israeli bombings in Lebanon at the end of 2024, Khalife, who was on tour, found himself stranded in Paris. He remembered a recurring request from his son, musician Bachar Mar-Khalife, who had often urged him to re-record his now-classic debut album. One morning, oud in hand, Marcel knocked on his son’s door and said, “Shall we? I’m ready to record.”
These new versions are stripped down, raw, and intimate—just the solitary strings of the oud. Khalife sings as never before, his voice no longer marked by the fragility of youth but imbued with something deeper, freer, unshackled. It soars high yet resonates low, always clear, as if to escape sadness, to evoke love and violence, desire and exile. In just four songs, Khalife encapsulates a lifetime, and a philosophy of life. Rita tells of a love of Darwish’s, with the haunting line (translated from Arabic): “Between Rita’s eyes and mine, a rifle.” Oummi invokes the figure of the mother as a metaphor for the lost land. Promises of the Storm is a meditation on revolution, the hope for change, the melancholy of defeat, and the power of thought. Passport captures, through poetry, the feeling of being stateless—a citizen of everywhere and nowhere.
Time has only strengthened these texts and this music. History never repeats itself without a valid, indispensable reason for the present. That reason is fully contained in Marcel Khalife’s new interpretations, which have never sounded so clear, so right, so essential.

One can only see clearly with the heart. Essence is invisible to the naked eye. Two South-Hessian music legends, Roland Leesker and Ricardo Villalobos, aka R+R, joined forces in 1995, long before they had the slightest idea what life had in store for them. Unreleased, mysterious, rough and old-school rave adventures, preserved on a dusty, long-forgotten DAT and later
remastered by Lopazz in 2015.
Now finding a new home on Secret Weapon Records as a limited white label vinyl release, the original is joined by a futuristic 2026 remix from Mr. Ho, who propels the track into new territory with razor-sharp electro rhythms, machine funk and forwardfacing synth work.
Love from all of us.

Double LP, pressed on gold vinyl. As part of Lineage II's 22nd anniversary celebration, NC America and Black Screen Records are proud to announce the first-ever Lineage II collector's edition vinyl album, which elegantly combines a track selection reflecting the game's iconic history and memorable musical identity. This vinyl album is now available for pre-order and will hit the stores in November. Arranged by composers Bill Brown (Tom Clancy's Rainbow Six), Jamie Christopherson (Metal Gear Rising: Revengeance), Inon Zur (Fallout 4), and NCSOUND, the track list is a collection of 40 of the most recognized pieces from the original soundtrack, carefully selected to create a cohesive listening experience rather than a complete collection. Published by NC, the album flows between calm, reflective village themes, atmospheric exploration pieces, and more intense, dramatic compositions tied to combat, progression and large-scale conflict. The track list draws from the original soundtrack's most recognized pieces and centers on two major regions: Giran and Aden. Early on their journey, players venture into the world's southern territory of Giran. As they explore the region's villages, tracks such as "Crossroad at Dawn," "Shepard's Flute" and "Caravans Crossing" help create a calm, grounded atmosphere that reflects the peaceful nature of travel through the area. In contrast, the world's northern territory of Aden reflects the game's grander, more conflict driven spirit. As players continue their journey, the Elven Village track "Unicorn's Rest" marks a turning point, gradually giving way to darker settlements and imposing castles through standout tracks such as "Knighting Ceremony" from the iconic Aden Castle and "Expedition March" from the Town of Oren, where tension, warfare and large scale conflict take center stage. Across both regions, the tracks are more than background music; they shape how players experience each location, from villages and hunting zones to moments of intense combat. This collection brings together the sounds that have defined Lineage II for the past 22 years, offering a reflective musical journey for both longtime players and new listeners alike.

WOW! An early ’80s New Wave, Electro, Proto-Electronica, Industrial and Kraut-Pop album that has never been released before is now coming out on Elaste Records and it’s a perfect fit! History is being made.

Quotes: “A pearl” (Hans Nieswandt) / “Great album” (Hell, Gigolo) / “Awesome album” (Patrick Pulsinger) / “Magnificent material” (Roman Flügel) / “An ’80s electronic gem… an ’80s Krautpop highlight” (Sankt Otten).

In the early eighties, Michael Heinkel was one of those quiet electronic musicians hardly anyone knew — at least outside of Munich. While machine rhythms were being perfected in Düsseldorf, dilettantism was elevated into an art form in Hamburg and West Berlin was soundtracking its own feverish coldness, Munich seemed to be a place where, apparently, nothing was happening. Or almost nothing. Because beneath the radar, far removed from the grand narratives of those years, Michael Heinkel was already creating his own electronic cosmos — stripped-down, idiosyncratic and often ahead of its time. Electronic minimalist music, born somewhere between a home studio, nightlife and the longing for a future that could only just be imagined back then. But the recordings disappeared into drawers, onto cassettes and tape reels. For decades, they remained a secret shared only among friends, insiders and a handful of close companions. It was only 45 years later that Andreas Dorau and Ralf Hertwig (Palais Schaumburg) — two defining figures of that early avant-garde — insisted that the recordings finally be made accessible. Not as an exercise in nostalgia, but as the overdue release of a missing piece in the history of German electronic music. This music is not a nostalgic retrospective. It is a delayed signal from a future that had already begun back then. Format: Heavyweight black vinyl incl. printed inner sleeve + download card



Quotes: -"Michael Heinkel's long-lost LP is a treasure trove. I'm constantly amazed at the musical gems from the early '80s that are still waiting to be discovered." - Hans Nieswandt (Whirlpool Productions) - „Some München musical history that somehow got missed at the time finally gets released after 40 years. Great album.“ - Hell (Gigolo) - “Awesome album! Today, we can only imagine just how groundbreaking electronic music at this level was back then. When gems like these are heard for the first time in perfect sound quality, it’s like a trip back in time to the early days of electronic music. Back to the future!!!” - Patrick Pulsinger (Cheap / iO / Sluts’n‘ Strings & 909 / The Private Lightning Six) - “Terrific material!” - Roman Flügel (Acid Jesus / Alter Ego / Sensorama / Warp 69) - “ELASTE has unearthed an 80s electronic gem! A German minimal wave gem-freshly unearthed! Minimal, rare, brilliant - an 80s Krautpop highlight.” - Sankt Otten - „Pure and delicious 80s Electronics from Munich. We love it.“ - Gorilla Aktiv

Fresh from the critically embraced full-length LP/CD, Downward Staircase now arrives in a special remix release - answering the persistent calls from supporters of Joaquin "Joe" Claussell who have been demanding a 12" single. The wait is over.

Downward Staircase is an Afro-Jazz House composition crafted in a way only Joaquin himself can manifest. Layered with masterful percussion from a host of renowned players, the groove is both infectious and deeply rooted. The rhythm section drives with purpose, creating the perfect foundation for the stunning piano work of Joaquin's longtime production partner and favored pianist. The result is a powerful Afro-dance journey - spiritual, percussive, and built to ignite dance floors wherever it's played.

But that's not all.

Also featured on this EP is another Joaquin Joe Claussell remix titled Kwelo, featuring Afro-dance originator Mr. Jephte Guillaume. A collaboration rich in heritage and forward motion, it further expands the sonic landscape of this release.

This project has been over a year in the making - a true labor of dedication and persistence. We're incredibly excited for its release, and we know our loyal following shares that excitement. In many ways, it was your continued support that helped bring this record into existence.

Don't sleep.
.
Enjoy the Journey

The long-awaited reissue of "Woodstock Generation” set for release in the 11th installment of "Spin This Now!," a masterpiece of Japanese jazz-rock by Soul Media, led by Jiro Inagaki!


Led by Jiro Inagaki, one of the leading saxophonists in the Japanese jazz scene, Soul Media captured the explosive musical movements of the late 1960s and early 1970s on this classic album. Rooted in jazz while boldly incorporating elements of rock, funk, and psychedelia, the album is packed with the thrilling sound that could only have emerged from Japan's music scene of the era.

Four guitarists who left their mark on Japanese jazz history: Kiyoshi Sugimoto, Ryo Kawasaki, Yoshiaki Masuo, and Masayuki Takayanagi. Bringing together musicians from different generations and musical backgrounds, the classic album "Guitar Workshop" showcases each guitarist’s distinctive personality and outstanding technique. The long-awaited reissue is finally set for release in the 11th installment of "Spin This Now!

Repress 2026
To celebrate 20 years since the release of Fatboy Slim's seminal album 'You've Come A Long Way, Baby' Toolroom are proud to present this truly mammoth release! Number #1 selling artists of 2017, CamelPhat, deliver a killer remix on what is arguably Fatboy Slim's biggest record ever, 'Right Here, Right Now'.
Black Vinyl With a Picture Sleeve

Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds.

To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of “In Dub”, inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter.

“In Dub” takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. The project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage.

Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records.

Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour.

Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin.

Froid Dub have steadily developed their “cold” Digidub style to acclaim –

releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect.

Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba.

Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”.

To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions.

Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true “In Dub”.

Adam Freeland relaunches Marine Parade with the ‘Transhuman’ EP, a collaboration with Spooky’s Duncan Forbes and the first of three releases set to arrive throughout the year. Available to stream now, the title track previews a deeper, more atmospheric direction ahead of Freeland's first solo material in sixteen years and the first new music on Marine Parade since 2009.

Across Adam Freeland and Duncan Forbes’ ‘Transhuman’ EP, broken rhythms sit subtly beneath spacious arrangements, while flickering synths, sci-fi -infused vocals and static-charged textures create an immersive, cinematic feel. It's a sound that reflects both Freeland's longstanding love of dub and Techno and the distance gained from stepping away from the dance music landscape in the 2010s.

Best known for his seminal ‘Coastal Breaks’ mix album and a run of acclaimed releases, remixes, and mix compilations spanning Fabric Live, Global Underground and Back To Mine, Adam Freeland spent a decade living off -grid in California’s Mojave Desert, while also working with Ry X to form The Acid, a band that has since released the ‘Liminal’ LP on Mute/Infectious, penned a film score and toured to great acclaim from well outside the electronic world.

Joining Adam Freeland is Duncan Forbes, one half of pioneering UK duo Spooky, whose landmark releases on Guerilla Records and influential debut album ‘Gargantuan’ helped define the early ambient Techno and progressive House movements. In the decades since, Forbes has continued to evolve through projects including collaborations with Mr. G and Sasha, as well as recent solo releases via Enzo Siragusa’s Fuse London and his own 49North imprint.

The ‘Transhuman’ EP marks the beginning of a new chapter for Marine Parade, with two further EPs from Freeland scheduled throughout 2026. The label will also expand with forthcoming material from longtime friends and previous label artists Evil Nine, alongside a new generation of talent joining the roster.

Common Language is a project of the Community Library label. We started it as a way to reconnect with the ideas that drove ComLib’s inaugural releases back in 2005, uncompromising and eclectic DJ 12’s. We’ll be focused on this imprint for a while, and near-term, putting the emphasis on releases by label cofounders and our closest friends.

On CLANG02, the Middlemarch 12” EP, Solenoid transmutes his signature buoyant syncopated acid, electro, and mutant techno into moodier, reverberant territory. If you previously knew Solenoid for his restless, sophisticated Braindance-adjacent stuff, this EP is totally consistent with his long discography. Here though, he gets into a dreamier, and also bassier zone that is equally rewarding either in the innerspace immersion of headphones or in the warmth of your favorite local underground club’s sound system--lots of detail and atmosphere to sink into.

“Middlemarch” is moody deep techno-- a clatter of distant percussion encircles eerie pads and an extra-bassy, double-filtered TB303 bassline. “Ways and Means” rotates perplexing polyrhythmic patterns driven by bright, elasticchords that keep it moving (reminding me of The Martian’s stuff on Red Planet a bit). “A Winter Walk” offers a skeletal, skittering rhythm that wouldn’t be out of place next to a Livity Sound track; and the closer, “Dvv Waltz” reserves a 3/4-time experiment for the bravest / most inquisitive DJs.

Edition of 300 vinyl copies includes special full- color insert
Mastered by Dietrich Schoenemann

About Solenoid
Solenoid is the primary musical vehicle of David Chandler, a lifer underground producer, musician, and visual artist. As a lone electronic voice in the wilderness of early-90s Portland (which was at the time a grunge-saturated third backwater) he started out releasing adventurous, now- unobtainium tapes on his DIY Pharmacy label. Solenoid then became known internationally at the turn of the millennium as one of Portland’s persistent ambassadors for underground crossover electro and techno, releasing on labels like Outward Music Company, Emanate, Orac, and many others (most recently, on the Paris label Partout). He’s a real legend honestly--doggedly clocking in almost 40 years of uncompromising experimentalism with a signature sound and vision running all the way through.
-- Paul Dickow (Strategy)

Younger Brother Live, with Shpongle and The Orb at Troxy, London 9th May

Twisted Records is thrilled to announce the release of the long-awaited fourth album by Younger Brother: Mutually Assured Distraction.
The first full-length release by the fabled electronica project in a decade features nine sumptuous tracks that each embody the project’s intoxicating fusion of profoundly human sonorities and etheric electronic soundscapes.

The title is a subversive reframing of the Cold War doctrine “Mutually Assured Destruction,” pointing to a world currently frozen not by the geopolitical threat of a Nuclear Winter but by a Digital Summer of mindless overstimulation. Mutually Assured Distraction is a sonic salve for the pervasive numbness induced by an emotionally disconnective artificiality that seeks to pacify with counterfeit happiness; the album offers an antidote to mundane superficiality with nine musical masterpieces that convey the depth of human experience and authentic creative expression.

The progression of track titles symbolically represents the arc of this soulful journey through an evocative auditory landscape of moods, harmonies, and textures, progressing from the haunting opening “I Belong to Nowhere” to the penultimate “Home In This World” before arriving at the concluding “Endless Drift.”

The synthesised musical mastery of renegade musicians Simon Posford and Benji Vaughan is complemented by the contributions of some supremely skilful musicians, with beguiling vocals by MiraBelle Rose and Jay Marsh and the rich cello of Rena Jones. With poignant lyrics that speak to the universal human condition in a world where voices are amplified yet so many feel unheard,
Mutually Assured Distraction provides, through its fusion of electronic and real-world music- making, an example of how technology can pair harmoniously with our humanity - an energetic homecoming as the music draws us away from the unconscious scroll into an open field where we can embody our essential nature.

The album stands as both a reflection of our times and a timeless reminder that beneath the noise, a deeper presence continually exists, waiting to be felt, heard, and expressed.

Following years of quietly refining her craft, Dilemma now returns with her debut album A River Without Banks, landing this August on Spearhead Records.

Known for her effortlessly deep and soulful approach to drum & bass, Dilemma has become a respected name among listeners who favour atmosphere, musicality and understated emotion over quick trends. A River Without Banks feels like the culmination of that journey, a rich and carefully crafted body of work that moves between warm liquid rollers, deeper late-night textures and moments of genuine introspection.

The album showcases Dilemma’s versatility without ever losing the unmistakable character that has made her music so recognisable. Tracks like “You Do It To Me” capture her signature laid-back soul, while collaborations including “Watch” with BCee and “Days To Come” featuring In:Most & Lauren Archer bring a cinematic and emotional depth to the project. Elsewhere, cuts like “Usurper” and “Vibe Check” reveal a heavier, more stripped-back edge while still remaining rooted firmly in groove and feeling.

Rather than chasing peak-time moments, A River Without Banks unfolds patiently and naturally, rewarding repeat listens and drawing inspiration from across the spectrum of soulful drum & bass culture. There’s a timeless quality to the album, music designed to stay with you long after the final track fades, whether heard in solitary moments or shared across packed rooms and late-night systems.

Released via BCee’s Spearhead Records, A River Without Banks continues the label’s long-standing tradition of championing thoughtful, emotionally rich drum & bass while further cementing Dilemma’s place as one of the scene’s most quietly consistent producers.

Younger Brother Live, with Shpongle and The Orb at Troxy, London 9th May

Twisted Records is thrilled to announce the release of the long-awaited fourth album by Younger Brother: Mutually Assured Distraction.
The first full-length release by the fabled electronica project in a decade features nine sumptuous tracks that each embody the project’s intoxicating fusion of profoundly human sonorities and etheric electronic soundscapes.

The title is a subversive reframing of the Cold War doctrine “Mutually Assured Destruction,” pointing to a world currently frozen not by the geopolitical threat of a Nuclear Winter but by a Digital Summer of mindless overstimulation. Mutually Assured Distraction is a sonic salve for the pervasive numbness induced by an emotionally disconnective artificiality that seeks to pacify with counterfeit happiness; the album offers an antidote to mundane superficiality with nine musical masterpieces that convey the depth of human experience and authentic creative expression.

The progression of track titles symbolically represents the arc of this soulful journey through an evocative auditory landscape of moods, harmonies, and textures, progressing from the haunting opening “I Belong to Nowhere” to the penultimate “Home In This World” before arriving at the concluding “Endless Drift.”

The synthesised musical mastery of renegade musicians Simon Posford and Benji Vaughan is complemented by the contributions of some supremely skilful musicians, with beguiling vocals by MiraBelle Rose and Jay Marsh and the rich cello of Rena Jones. With poignant lyrics that speak to the universal human condition in a world where voices are amplified yet so many feel unheard,
Mutually Assured Distraction provides, through its fusion of electronic and real-world music- making, an example of how technology can pair harmoniously with our humanity - an energetic homecoming as the music draws us away from the unconscious scroll into an open field where we can embody our essential nature.

The album stands as both a reflection of our times and a timeless reminder that beneath the noise, a deeper presence continually exists, waiting to be felt, heard, and expressed.

FatCat was recorded in a single session-live, with all four musicians together in the same place. What you hear on the record isn't a polished production, but a one-of-a-kind recording of four people playing at the same time in the same room.
This is not a nostalgic gesture. It's a stance. As music is increasingly understood as the output of a prompt, the question of what actually makes music becomes urgent again. Not flawless, efficient production, but the imperfect moment and its context. Not the result, but the process in which four people listen to each other, react to each other, misjudge, and find one another. This fallibility - the hesitation before an entrance, the slight pull in the timing, the glance between musicians that signals a turn - is not a weakness but the substance itself. It cannot be synthesized, because it isn't a data point but a lived relationship: between the instruments, between the people, between their shared history and what emerges new in this one take. The album is thus also a statement on the question of where, in the age of generative music, authorship and art can still be located: not in the result alone, but in the shared risk taken in creating it.
"The question was always: how do I bring my work as a producer and beatmaker onto the stage? How can something that usually happens alone behind closed studio doors become a live experience?" With the album FatCat, Sepalot pursues this question to its logical conclusion: what began as a live performance now becomes the recording itself - the studio becomes a stage for a day, and the stage becomes the definitive version of the album.
The love for electronic music remains, the raw pressure of hip hop is still palpable - and yet everything on FatCat sounds like a fresh start, captured in the very breath in which it was played.
On stage as in the studio, the four characters fit together like a puzzle. Sepalot's signature as producer and mastermind is unmistakable. On drums, Fabian Füss, longtime partner behind the kit and the voice that makes Sepalot's radio hit "Rainbows" so unforgettable. On bass, Robin Jermer. On trumpet, Matthias Lindermayr, multiple award-winning jazz virtuoso with his own albums on Enja Records. And then there's Sepalot himself, who turns it all into more than just the sum of its parts.
The eclectic beats, the pulsing bass, Sepalot's passion for atmospheric sound design - all of it remains, now joined by an element of jazz and captured in its most immediate, unpolished form. The album shows what four people in one room are capable of: a sound born of shared experience, and precisely for that reason, unique.

Consummate selector DJ Sundae returns to Efficient Space with Nothing Ever Was, an immaculate compendium of phantom independent melancholia spanning '60s/'70s village green folk, outsider shoegaze and new millennium domestic pop. Each recording an emotional exorcism, Sundae breathes oxygen into music that was barely there in its own time, made in quiet places and crawl spaces, shared only with a precious few via private presses, hobby labels and now-decaying CD-Rs.

Free of any prescribed epoch, continent, scene or rarity, Noughties homemade indie pop opens both sides with the 4-track wonders of The Motifs and Betelmire, unlinked contemporaries finding their place alongside Andrew Jay's Crazy Horse rust, the regional-garage adolescence of Pauline Scribner and the anaesthetised Mancunian guitar-poetry of the late Quigley.

The remaining coordinates zigzag between the UK and US. Folk wayfarers John Strang & Valentine Lewis Lloyd, Virgin Insanity, Kusudo & Worth and Penny Wager's spartan Garden of Eden acoustica find their mirror in Empress and Slumber's close-quarters indie pangs. Chicago power pop fixture Phil Angotti is caught at his most tender, while Teri Rini takes the final bow with her universe-stopping hotel lounge torch song.

A deeper, more personal exploration of Sky Girl's sentimental songwriting, Sundae found himself amassing a cache of tracks too undeniable to remain confined to his anonymous mixtapes for TTT, P.A.M. and Good Morning Tapes, or bi-monthly hour on NTS Radio. Again his emotional sorcery draws together an unlikely cast, their unwritten narrative assembled from fragmented memories of past lives left behind by future horse trainers, ketamine therapists and Fab Four cover band careerists.

With not a second squandered across 1LP, it took a village to bring this new companion into being, with David Bergot's forensic audio restoration, dreamlike imagery from Matthieu Crozier, Ivan Liechti's elegant design and a perceptive foreword by kindred spirit Jessica Pratt.

Our previous remix-EP of Ness' classic album "Flesh Of The Gods" was, for various reasons, a long and slow process. When Ness himself suggested us to ask Vladw for a contribution we finally had a good reason to reach out to a long time favorite @ the Navigare HQ. Although located, literally, on the other side of the planet, his deep, driving and breezy productions ring true to our, slightly northern, musical vision. So we are not surprised that his excellent remix of "Transilient" is, already, one of the most celebrated tracks in our half decade long history. We asked for more, and finally we are able to present three brand new originals, seeded, watered and harvested with a Navigarean intent. Three highly functional pieces, aimed at focused dancefloors underneath open skies, balancing the beautiful and lush with the edgy and slightly twisted. Although being our first ever collaboration, any Navigare listener would understand that Luigi Tozzi has played a huge role for us on our path. Since his first releases with Hypnus we've listened carefully, on repeat, for a dozen years by now. A guiding light for our scene, always curious, always pioneering, yet always on point. His remix of "Drya" takes the harmonix of the original, adds a monstrous bassline and - trust us on this one - that massive clap will cause a mass frisson on the dancefloor. Trust Navigare Audio...

Sweep returns with its second release, bringing together Jigit co-head O.Bee and Unreleased boss Cem G. ‘Makes Me Feel’ is the first music to see the light from a long-standing friendship and collaboration shaped between their two homes, New York and Istanbul, and comes backed with a stirring remix from Giegling’s Edward.

O.Bee and Cem G bring forward a sound rooted in Istanbul’s music culture, developed through ReSolute’s warehouse parties on the outskirts of Brooklyn and refined at Berlin’s Club der Visionaere. It’s music that feels equally at home in all three settings. Dyed Soundorom’s Sweep is built around underground sounds with depth and groove — much like his own DJ sets — and this second release sits naturally within that world.

On side A, the original mix of ‘Makes Me Feel’ rolls out with a sturdy groove from the start. O.Bee and Cem G build the energy carefully, peppering the ethereal atmosphere with a repeated vocal clip as the tension grows. A variety of percussive layers and pads add depth, keeping you locked in. Halfway through, the vocal goes into full flow — scattered words bounce around like a jumbled poem, evolving into a call and response of dissipating voices on top of the rolling bass, fully hypnotizing. Underground music par excellence.

The flip features a rework from one of Giegling’s central figures, Edward, who adds a tougher edge to the original. Still operating in the deeper end of the spectrum, the remix plucks out the ‘Make me feel’ part of the vocal and uses it throughout. Dark, brooding and enchanting, Edward’s reinterpretation progressively adds more layers, increasing the dynamism while bringing further nuance to the atmosphere. A real treat for Edward fans…

If you caught Dyed Soundorom playing anywhere, you surely would have heard these cuts in the mix. Perfect dancefloor groovers… Now they’ve finally arrived on Sweep — c'est l'heure de la fête!

Presenting the eighth edition of the Bizarre Trax wax series and the second solo outing from bare-knuckle beatmaker B.Love. A Shape You Can Feel EP marks a subtle but deliberate evolution in the producer's sound. While the groove-led, funk-infused records that first put his name on the map are still woven into his DNA, this latest four-tracker strips things back in favour of a more understated, headsdown approach. Leaner drums, weightier low-end and hypnotic arrangements take centre stage, with each cut built for long blends and late-night dancefloors. Across four rolling club weapons, B.Love explores a deeper, more refined sonic palette without losing the character that's become synonymous with his productions. Chopped vocal fragments, unmistakable sample work and crisp, polished percussion remain at the core, but are now delivered with greater restraint, allowing space, tension and groove to do the heavy lifting. Designed for selectors who favour subtlety over spectacle, A Shape You Can Feel EP is a confident statement from an artist continuing to carve out his own lane; proof that sometimes the smallest shifts leave the biggest impression