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As Selofan's fifth studio album, Vitrioli, from 2018, is a testament to the tragedy of life. The Greek duo, Joanna Pavlidou and Dimitris Pavlidis, who recorded the album in the Fabrika Records home studio, continue on in their poetic, but heartbreaking, music set to a dance beat. Between languages (Greek, English, German, and Spanish), Selofan feels on the brink of mania with Vitroli. However, the madness is controlled, the songs are restrained hysterics that culminate into the alchemic perfection of the band's specific moody sound.
From synthpop to synthpunk elements, the twelve-track LP leads listeners through dark corridors and into haunted, empty beds. There is a resignation to a doomed destiny with Vitroli—a trait that connects all Selofan releases—as a bitter pain and loneliness that cannot, or will not, subside.

The album begins with "Give Me a Reason" whose lyrics feel universal in this day and age: Give me a reason, to get out of bed / I could just watch the ceiling instead. Its heartbreak is profound as bells and voice pads echo under Joanna's voice. The adjacent music video for the song was directed by Dimitris Chaz Lee, and the band describes the video as "depicting the fragile nature, conflicts, emotional demands, and vulnerability of each person in a relationship."
"Billie Was a Vampire" is a story about an undead creature who works at a nightclub followed by the urgency of "Black Box." Brass sounds moan against the fast beat and suggest a frenzied need to escape.

"I'm Addicted" became the second single for the LP. I am addicted, you are mine, Joanna demands of the lover. The music video, also directed by Dimitris Chaz Lee, depicts a clean, white photoshoot primed for the most beautiful creatures of the Athenian wave scene. Alex Macharias, from the legendary Greek band In Trance 95, acts as the photographer for the session, as the models pose and flail under the bright bulbs. The director states: "Addiction is a mental state, something inside all of us. It altered our perception and created a parallel world of avant-garde beings and flashy lights making us part of this everlasting bond."

As Selofan's fifth studio album, Vitrioli, from 2018, is a testament to the tragedy of life. The Greek duo, Joanna Pavlidou and Dimitris Pavlidis, who recorded the album in the Fabrika Records home studio, continue on in their poetic, but heartbreaking, music set to a dance beat. Between languages (Greek, English, German, and Spanish), Selofan feels on the brink of mania with Vitroli. However, the madness is controlled, the songs are restrained hysterics that culminate into the alchemic perfection of the band's specific moody sound.
From synthpop to synthpunk elements, the twelve-track LP leads listeners through dark corridors and into haunted, empty beds. There is a resignation to a doomed destiny with Vitroli—a trait that connects all Selofan releases—as a bitter pain and loneliness that cannot, or will not, subside.

The album begins with "Give Me a Reason" whose lyrics feel universal in this day and age: Give me a reason, to get out of bed / I could just watch the ceiling instead. Its heartbreak is profound as bells and voice pads echo under Joanna's voice. The adjacent music video for the song was directed by Dimitris Chaz Lee, and the band describes the video as "depicting the fragile nature, conflicts, emotional demands, and vulnerability of each person in a relationship."
"Billie Was a Vampire" is a story about an undead creature who works at a nightclub followed by the urgency of "Black Box." Brass sounds moan against the fast beat and suggest a frenzied need to escape.

"I'm Addicted" became the second single for the LP. I am addicted, you are mine, Joanna demands of the lover. The music video, also directed by Dimitris Chaz Lee, depicts a clean, white photoshoot primed for the most beautiful creatures of the Athenian wave scene. Alex Macharias, from the legendary Greek band In Trance 95, acts as the photographer for the session, as the models pose and flail under the bright bulbs. The director states: "Addiction is a mental state, something inside all of us. It altered our perception and created a parallel world of avant-garde beings and flashy lights making us part of this everlasting bond."

Special Friend have become the masters of weaving elegant and sophisticated pop musical webs while staying true to their low-fi indiepop roots. The French/American duo (Guillaume on guitar and vocals, Erica on drums and vocals) manage to create a sound like no other band. When they play live, audiences marvel at the huge, intricate structures the band construct, while falling in love with the crystal-clear vocal melodies that are threaded in between the shards of guitar and the rattle of the drums. How can a duo achieve so much? UK audiences will be able to ponder this question in March: Special Friend are coming over from France to do a substantial tour of the UK. These shows are highly recommended!
The new album is more diverse that the last, with the high-tempo indiepop of first single ‘Breakfast’, the majestic, Yo La Tengo-like dreampop of ‘Clipping’ and the country-ish, gentle, homesick melancholy of ‘Isolation’. Final track ‘OOO’ is a bold piece of Krautrock-inspired experimentation; ‘Mold’ is a beautiful slice of slowcore and opener ‘Paint A Picture’ is modern pop at its catchiest and most direct.

‘Clipping’, the album title, refers to the discipline of pruning growth back, removing dead wood to create a perfectly shaped tree with abundant blossoms: an accurate description of the album, and of the songs that hang from its elegant branches. The album artwork is by Erica: Special Friend are in control of every aspect of this elegant artefact.
‘Clipping’ was recorded in 2025 at Studio Claudio by Alexis Fugain and Margaux Bouchaudon. Set in an isolated rural environment conducive to immersion, the band had seven days in the studio—significantly more than for previous records—allowing for greater care in the recording process, particularly for vocals and arrangements. Several tracks feature synthesizers and organs, acoustic guitar, and even an electric bass on “Sanctuary,” a first for Special Friend. Overall, the record benefits from a more developed and detailed production while preserving the band’s direct approach and spontaneity.

The album was mixed by Syd Kemp, who has worked with artists such as Thurston Moore, Ulrika Spacek, Caroline, Crack Cloud, and Vanishing Twin.
Special Friend’s previous album on Skep Wax, ‘Wait Until The Flames Come Rushing In’ was an underground hit, with a significant amount of airplay in the UK and in the US.
‘Clipping’ is a co-release with Howlin Banana Records and Hidden Bay Records (both in France). Skep Wax is proud to present the album in the UK and in North America.

Working with 32 writers, vocalists, musicians, and producers across the U.S., the U.K., and Brazil, the album carries an intimate feel that resonates with vinyl buyers who value authenticity, context, and artistry. Blending roots- influenced Americana and soulful pop, the album delivers a warm, organic sound designed for full-album listening. With songs focused on relationships, friendships, and everyday life, Behind the Scenes offers a cohesive yet varied listening experience that encourages repeat spins and long-term shelf appeal. Performing, writing, and recording since the age of 16, lead singer Liz Lenten relaunched Auburn in 2012 and has since released four albums recorded in Nashville with Grammy-nominated producer Thomm Jutz, earning critical acclaim, an extensive international airplay. Liz tours regularly with Auburn Acoustic; hosts the podcast Behind the Scenes of an Indie Artist and was awarded a British Empire Medal in 2022 for Services to Music.

He rose to fame after appearing on the sixth series of Britain's Got Talent in 2012 as half of the classical duo Jonathan and Charlotte. He subsequently went solo and his debut album, Tenore, was released in the UK in 2014. Three subsequent albums followed and for 2026 comes his brand new album, Speaking To You. A magnificent collection of new recordings of some really well known favourite songs performed brilliantly

While many have tried to emulate the ancient German (black)thrash sound, CRUEL FORCE brimmed with an authenticity that could not be denied, as well as songwriting that added to that noble tradition rather than lazily picking at its corpse. Their two successive albums, 2010's The Rise of Satanic Might and 2011's Under the Sign of the Moon, made CRUEL FORCE a certifiably CULT name in the international metal underground. Sadly, the band fell into a hiatus following that second album, but returned reinvigorated with the comeback 7" EP Across the Styx in 2022 and, a year later, the glorious full- length Dawn of the Axe at the hands of new label home SHADOW KINGDOM. Continuing to make up for lost time, CRUEL FORCE storm back with swords gleaming high on their fourth full- length, Haneda.

Where a line could be drawn between the band's "first era" of The Rise of Satanic Might / Under the Sign of the Moon, so continues this Second Era that began with Dawn of the Axe - one that harkens to the "Jurassic period" of heavy metal, when everything was rawer, less polished, and more energetic and powerful. As displayed by that pivotal predecessor, Haneda further proves that CRUEL FORCE are more so an old-style speed metal band, largely bereft of that blackened edge during their First Era. The tradeoff is that there's a prominent mysticism coursing through that speed, and the blue-collared aspect of Dawn of the Axe is now spit-shined to a lethal slickness that makes Haneda hit that much harder.

However, it must be stressed that, while it follows logically from Dawn of the Axe, Haneda is very much its own headspace, its own continuation of a still-vital aesthetic. At times more epic, exuding both more and different atmospheres, CRUEL FORCE here take the listener on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond; indeed, the whole record is like a journey through mystical realms. Although no concept album, Haneda is very conceptual in its aesthetics, even down to its production: BIG and naturaltoned, from the guitars to especially the drums, everything here is as '80s and authentic as possible, underlining

»Don't Fear The Reaper: The Best of Blue Öyster Cult« wurde im Jahr 2000 veröffentlicht und ist ein umfassendes Kompilationsalbum, das die bekanntesten Titel aus der legendären Karriere von Blue Öyster Cult präsentiert. Es umfasst ihre Anfänge in den frühen 1970er Jahren bis zu ihrem Erfolg in den 1980er Jahren und enthält Hits wie das legendäre »Don't Fear The Reaper«, das kraftvolle »Godzilla« und das eindringliche »Burnin' for You«.

Blue Öyster Cult sind bekannt für ihre Mischung aus Hardrock mit Elementen aus Metal und Psychedelic. Ihre komplexen Gitarrenriffs und geheimnisvollen Texte kommen in dieser Sammlung voll zur Geltung. Das Album unterstreicht den innovativen Sound der Band, der mit seiner einzigartigen Mischung aus schweren Riffs, komplexen Harmonien und düsteren Themen das Rockgenre mitgeprägt hat.

Sowohl für langjährige Fans als auch für neue Hörer ist »Don't Fear The Reaper: The Best of Blue Öyster Cult« ein Muss, das einen perfekten Einstieg in die einflussreichsten und zeitlosesten Titel der Band bietet.

»Don't Fear The Reaper: The Best Of Blue Öyster Cult« ist als limitierte Auflage von 2000 Exemplaren auf kristallklarem und schwarz marmoriertem Vinyl erhältlich.

Step back into the irresistible world of Dutch pop legends Gruppo Sportivo with Vinylly! (Selected Songs '78-'91). a vibrant, limitededition celebration of the band's most iconic tracks. This double LP is the ultimate collector's item for fans of clever pop, quirky humor, and timeless hooks.

Featuring standout songs like ''Beep Beep Love,'' ''My Old Cortina,'' ''Up to Date,'' and cult favorites from The Buddy Odor Stop, Vinylly! captures the band's golden era with crisp remastered sound and a beautifully designed sleeve and 4-page booklet. A complete overview of a group that defined an era with their playful lyrics, sharp arrangements, and unmistakable charm.

The band is touring throughout 2026 to celebrate the 50th birthday of Gruppo Sportivo.

Featuring legendary artists and studio collectives including The Revolutionaries, The Aggrovators, Niney & The Observers, Twelve Tribes of Israel, Ken Boothe, Gregory Isaacs, Jimmy Riley and Phil Pratt , this release delivers deep basslines, spacious mixes and timeless rhythms.

Released in time for April, the album naturally aligns with long-established countercultural tradition , while remaining a serious, archival document of roots reggae and dub at its most atmospheric and powerful. An essential vinyl dub released on 180-gram incl. sleeve notes for reggae collectors, sound-system enthusiasts and vinyl buyers alike.

This genre-bending 4 track EP blends organic, instrumental performance with the electronic production of ORNETTE HAWKINS' previous dnb offerings. Opening with a deceptively straight-ahead sound before collapsing into soundscapes of futuristic realms. Full pic sleeve.

This is the second studio album by American soul singer-songwriter and producer Bill Withers, released in 1972. The rhythmic music produced for the record features soul, funk, and blues sounds, backing lyrics that explore themes of human nature, emotion,

Seventh release of BinarySound’s limited vinyl series BS-LTD, featuring Die Angst, an electronic live duo based in Bologna formed by Francesco and Giuseppe Distefano. Limited to 250 copies.

José González has delivered a new album, Against the Dying of the Light, a companion and further meditation on the themes of his critically acclaimed album, Local Valley. Where Local Valley turned inward toward place, language, and personal reflection, this new record widens its gaze, becoming an urgent call to preserve the light of humanity with all its flaws, at a moment when, technology increasingly shapes how we think, feel, and relate to one another.

While José has always embraced technological advancement, he questions the assumption that every new possibility must be pursued to its maximum potential, especially when progress comes at the expense of human flourishing, attention, and empathy.

Keeping in the tradition of folk music as protest, José’s new single — sharing its title with the forthcoming album — urges listeners to resist systems that dehumanize and divide: “Disconnect from every algorithm, every perverse incentive that drags you down. Let’s rebel against the replicators, against the dying of the light. Kill the codes that feed the hate, keep the codes that make you thrive, celebrate the **king fact that we’re alive.”

Across the album, González works within a deliberately minimal framework, pushing his familiar palette to new heights through subtle variation, restraint, and detail. Each song unfolds with its own distinct character, proving how much emotional and musical range can be achieved within self - imposed limitations. Written in English, Swedish, and Spanish, the record reflects his Swedish - Argentine roots and frames its humanist message as a global one rather than a purely personal or political statement.

José González is one of the most quietly influential artists of our generation. The Swedish - Argentine artist has built a singular musical world from hypnotic, minimal guitar work and his unmistakably gentle voice — a sound that has become deeply personal to millions of listeners worldwide. With billions of streams across platforms and hundreds of thousands of physical records sold, González’s songs often act as emotional landmarks. Ask almost anyone, and they can name at least one of his tracks tied to a defining moment in their lives.

Nach dem erfolgreichen Release der CD „Techno 2026“ im letzten Jahr folgt nun eine exclusive Vinyl-Ausgabe.

Diese Schallplatte ist kein simples Re-Release, sondern ein kuratierter Auszug aus dem ursprünglichen CD-Projekt: Die drei DJs haben jeweils ihre persönlichen Highlights ausgewählt und daraus diese exklusive Vinyl-Edition zusammengestellt.

Treibende Grooves, hypnotische Sequenzen und atmosphärische Spannungsbögen spiegeln den Sound wider, der bereits die CD zum Erfolg gemacht hat – nun verdichtet und veredelt für das Vinyl Format

Mit 30 eindrucksvollen Tracks laden Svein Berge und Torbjørn Brundtland die Hörer:innen auf eine klangliche Reise ein, die tief in atmosphärische Klangwelten eintaucht. Das Album, eine Hommage an das Ambient-Genre, verbindet hypnotische Texturen, subtile Melodien und immersive Soundscapes, die den Geist beruhigen und gleichzeitig inspirieren. Als Erweiterung ihrer gefeierten Profound Mysteries-Reihe beweist Nebulous Nights einmal mehr Röyksopps unerschöpfliche Kreativität und ihr Gespür für emotionale Klangkunst. Röyksopp: "Analoge, rohe und immersive Klänge. Das ist „Nebulous Nights“ – eine ambient hafte Neuinterpretation unseres Albums „Profound Mysteries“. Live aufgenommen, fängt diese After-Hours-Session die Essenz von Nostalgie und Verweisen ein: Huldigungen und Anspielungen, die auf verschiedene Elemente des Röyksopp-Kosmos zurückgreifen. All das ist sorgfältig in eine esoterische Hülle gewickelt, durchzogen von analoger Wärme und voll kleiner Details, die aufmerksame Hörer:innen entdecken können. Doch „Nebulous Nights“ ist mehr als ein reines Hörerlebnis: Das Album möchte die Bedeutung von kritischem Denken und neugierigem Nachforschen hervorheben. Es lädt dazu ein, die eigene Vorstellungskraft und das Streben nach Erkenntnis nicht durch ein festgelegtes Weltbild oder starre Denkweisen einzuschränken, sondern offen für Wachstum und Erkundung zu bleiben. Diese Idee wird perfekt durch ein Zitat von Albert Einstein zusammengefasst: „Das Schönste, was wir erleben können, ist das Geheimnisvolle. Es ist die Quelle aller Kunst und Wissenschaft. Wer diese Empfindung nicht kennt, wer nicht mehr staunen und sich in Ehrfurcht verlieren kann, der ist so gut wie tot – seine Augen sind geschlossen.“

Für ein vollständiges, intensives Erlebnis empfehlen wir, das Album mit Kopfhörern zu hören. "

Anton Toorell’s second solo album, Solos II, deepens and intensifies the six-string language introduced on his 2022 debut, Solos. Rather than widening his scope, the Swedish guitarist, composer and producer sharpens his focus, homing in on the physical and sonic relationship between player, instrument and tuning. The result is three extended pieces of cascading tonality that feel disciplined yet light, their conceptual frameworks always secondary to the luminous sounds Toorell draws from two guitars.
Throughout Solos II, Toorell explores both the guitar’s potential for silvery, sometimes clashing textures and his own physical engagement with the instrument. Across ‘Volta’, ‘Cripta’ and ‘Scala’, he plays two guitars simultaneously: one fretted with the left hand using hammer-ons and pull-offs, while the right hand activates mostly open strings on a guitar resting in his lap. Despite the inherent complexity of this approach, the music never feels busy or demonstrative. Technique remains a quiet servant to Toorell’s compositional instincts and improvisational sensitivity.

The album leaves space for unplanned resonances and happy accidents, yet its structures are clear, resilient and finely balanced. The seventeen-minute ‘Volta’ unfolds as a shimmering continuum, its repeated figures gently reshaped through minute inflections, creating a sensation of constant motion. ‘Cripta’ spirals inward, cycling hypnotically in a way that recalls both Terry Riley’s iterative minimalism and the hallucinatory guitar loops of early Seefeel.
With the closing ‘Scala’, the recording environment comes fully into view. Captured in a 16th-century wine cellar at Palazzo Stabile in Piemonte, Italy, the room functions as a guiding presence and an implicit third instrument. Toorell tuned the guitars in response to the cellar’s reverberant character, seeking configurations that would open up the space itself.

Light Blue File ft. Alen Sabella - TUFFLOW (Remix EP)
Sounds in 4A, spins in pink

Artists involved:
HearThug, Nazareno, Dani Labb, Alen Sabella, Light Blue File, Bhercad.
Welcome to 4A,
play it loud!

LBF.

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

Those not familiar with Jones' style will listen slack-jawed at the sheer anticipatory nature of his sound collage. The five extended tracks are based on hypnotic and somewhat menacing grooves: a repetitive dub bass beat, waves of Middle Eastern strings and voices, layers of building hand percussion. The washes of sound and percussion come and go, often creating a sense of motion and change. All of the tracks are similar and even share elements. Mid-East tension is so accurately captured through the use of the region's instrumentation (especially percussion), sinister electronics, samples of men chanting, women crying, sounds culled from the horrors of war, and occasional angry distortion that the listener will be transported to the belly of the beast.

»Mullah Said« displays two aspects of the work of Muslimgauze. Firstly, musically, it is in the delightful drifting ambient vein. The percussion is mainly acoustic hand drums - providing a rhythm of aural features - the trademark shimmering string sound heard on a number of releases is much in evidence, rhythms are generally slower, there are lots of samples of people speaking in conversation, markets wherever. 'Mullah said' opens the disc with the lovely mix of these sounds. »Every Grain of Palestine Sand« continues the mood, with a slightly faster tempo, and more emphasis on the beat. But it soon locks into a mesmeric lassitude as various effects echo or smear the sounds, drums come in for short moments, different string sounds enjoin the play. »Muslims Die India« follows the mood though the voices seem darker, sadder, and then comes »Every Grain of Palestinian Sand« followed by »Muslims Die India«. Yes - not a typo, these tracks are repeated. Muslimgauze trend – to remix himself. Prime Muslimgauze middle eastern ambience - if you like that side you will love this album. The final track is short and different, a crackling ground over which a singer chants a song interrupted by machine-gun percussive bursts - »An End«.

For our first EP and 12", we're joined by Italian sound artist and long-time Goodness friend Yraki for 5 tracks of sonic hypnosis on a bass-heavy theme: ‘Tendril’ is meditative future-techno meticulously constructed through an experimental, high-poly lens.

Detailed, tactile sound design with deep, hypnotic momentum, it shapeshifts between stripped-back bass pressure and elastic, experimental flow in one costant, evolving, unravelling thread.

--

The shadowed interstice between root and circuit, Tendrils creep through soil and signal alike, tracing patterns unseen, carrying memory and mutation. Time folds in layers of sediment and data; decay becomes growth, fracture becomes connection.

Tendrils are the pulse of the unseen, a meditation on growth, entropy, and the uncanny geometry of becoming.

In many ways, OLDE OUTLIER rise from the legacy of Australia’s late Innsmouth — a cult band whose 2014 debut Consumed by Elder Sign endures as an underground classic. The connection is more than symbolic: guitarist Askew, vocalist Appleton, and bassist Greenbank all passed through Innsmouth’s ranks, while Beau Dyer now leads this new incarnation after years spent shaping the sound of Innsmouth and the earlier project Grenade.

From Shallow Lives to Shallow Graves marks OLDE OUTLIER’s recorded debut, a four-track, thirty-five-minute descent into their own cavernous realm. While faint echoes of Innsmouth’s inspirations — Armoured Angel and early Samael — linger, the band draw from a broader and far more obscure constellation. Shades of Amon Goeth, Martyrium, Head of the Demon, and Florida’s Equinox collide with the spectral drift of Ophthalamia and early Katatonia and Tiamat, all eroded and blackened into something untraceable.

Despite these depths, OLDE OUTLIER avoid any sense of technical indulgence. Their sound carries a rough, deliberate simplicity — a raw and smoky power that pushes each of the four long tracks forward with unhurried certainty. The songwriting unfolds through patient repetition and subtle shifts, allowing motifs to seep into place and gradually hypnotise. Appleton’s low gutturals bring a grim, expressive edge reminiscent of early Septic Flesh or Thou Art Lord, while the more open, lead-driven riffing imparts a distinctly archaic heavy metal aura that separates this band from their origins.

At many moments, that union of grit and atmosphere surpasses even Innsmouth’s achievements. Accented by well-placed clean and chorused guitar lines, From Shallow Lives to Shallow Graves becomes an immersive and strangely timeless work — a glimpse into an ancient, dimly lit world where OLDE OUTLIER feel less like a new formation and more like something unearthed from a forgotten past.

Up Ya Archives returns with its first release of 2026, ‘Northern Step’, from Manchester-based jungle producer & DJ Worsleyy. The track arrives ahead of his upcoming EP of the same name slated for a 13th March release via Up Ya Archives Records.

Fuelled by crisp, tightly swung drums and a smooth, rolling bassline, ‘Northern Step’ is a salute to its junglist roots. Drawing from the Manchester rave records he was introduced to by his dad, and with the help of legendary Mancunion music mixologist Chimpo, Worsleyy channels those early warehouse energies and pairs them with his own progressive and futuristic lens. It’s heritage and evolution colliding, rooted, forward-thinking and built for sweat-drenched dance floors.

When speaking about ‘Northern Step’, Worlseyy said:

“Northern Step is a proper nod to the junglist past with the lush floaty vocals, calculated drum choppage, a smooth rolling bassline and Chimpo hopping on to drive forward the sound of the North.”

Worsleyy is a familiar face across the UK circuit, having played sets at The Warehouse Project and supporting Nia Archives on her 2024 UK tour in Manchester. Drawing from UK rave lineage and contemporary club sounds, his productions balance nostalgia with futurism, channelling the energy of Manchester’s acid raves. His tracks have travelled far beyond UK borders, spun by the scenes most forward-thinking tastemakers like DJ SWISHA, Sherelle, Pete Cannon, and Nia Archives on dancefloors around the world. Worsleyy’s rise has been as visible as it is audible — bold, bass-driven, and impossible to ignore.

POD & Edward Richards return with their second release on Kinetic Vision, the ‘Polar Phase’ EP, following their much lauded ‘SQZR’ EP. A landmark release for the label, ‘Polar Phase’ marks the first of a series of records to come. Set at a tempo of 100 BPM, the duo mix minimalism, broken beats, world music percussion and psychedelic synths to weave a tapestry of darkness, albeit more zen than melancholy.

The opening track ‘Mind Machine’ is propelled by a broken beat and flurry of hard hitting snares. A swirl of synths abound while a tribal incantation is whispered in the dark. The title track ‘Polar Phase’ takes us on a pulsing journey of techno hypnotism, with icy synths threatening deep underwater immersion. The B side ‘Flux Growth’ elicits an obscure playfulness with its punctuated kick and slowly building chaos. Finally the Sub Basics remix of ‘ Polar Phase’ lifts the tempo and we find ourselves in a bliss of pure dancefloor hedonism.

POD & Edward Richards have crafted a rich textural sound with slow paced hypnotic grooves, creating deep absorption for both DJ and listener alike.

Originally produced by Visnadi with vocals by Janice Robinson,

this 12-inch includes the re-edited "original club mix,"

and for the first time on vinyl, remixes by Paul Morrell and Michael André & SMB.

Over 13 million streams on Sound Cloud,

over 10 million views on YouTube,

over 50 million plays on TikTok in the last few months.

L Major, Tamen & Ocean Dawn join forces for the first full press on Basics Records. ’The Path / Melt’ displays precise drum workouts & cleverly crafted atmospherics. Club ready music with class. Mastered by the legendary Beau Thomas, This release does not disappoint.

The Path with Ocean Dawn drives forward as a heavyweight stepper, while Melt with Tamen is a powerful amen track that pays homage to the roots of the sound. Two beautifully crafted tracks that represent the Basics imprint in fine style.

Leading voices in contemporary Organic House anchor LS001 V.A-Thunderlab Collective, the inaugural vinyl-only edition from Life Signal. This first chapter introduces Life Signal as a curated imprint dedicated to presenting standout works from modern electronic music-pieces selected for their lasting impact and now pressed exclusively for listeners who value both sound and physical format.

These tracks have earned significant attention within the digital space, and this release brings them to vinyl for the first time, giving collectors a chance to experience them in a new, tactile form.

A1-Volen Sentir & PROFF-"Luna Amazonia (PM Mix)"
The record opens with a signature blend of organic textures and melodic flow, shaping an atmosphere that sets the tone for the edition.

A2-Krasa Rosa-"
Kaftan"A refined balance of acoustic nuance and electronic drive, building toward a standout breakdown and a sharp, vocal-chopped lead.

B1-Jiminy Hop-"Cavalier (Extended)"
Marked by Jiminy Hop's characteristic phrasing and evolving percussive movement, this version extends the melodic narrative with precision.

B2-Audiense-"Winterfell (Extended)"
A steadily rising finale combining psychedelic touches and ethno-vocal textures, rounding out the collection with an expansive sense of lift.With LS001, the Life Signal vision arrives on vinyl: curated electronic works preserved for collectors who follow music not only by sound, but by legacy.

Veränderung, so sagt man, ist das Einzige, was im Leben immer gleich bleibt. Passenderweise fühlt sich die vielseitige Musikerin Avalon Emerson wohl dabei, den ständigen Wandel ihres Lebens in ,Written into Changes" zu verarbeiten, ihrem zweiten Album, das sie unter dem Namen Avalon Emerson & the Charm rausgebracht hat. Das Album ist das Ergebnis intensiver kreativer Arbeit und Überarbeitungen. Die Themen des Albums, persönliche Entwicklung und die Entwicklung von Beziehungen, ,wurden erst klar, als alles fertig war", so Emerson. Die Entstehung von ,Changes" war, wie es sich gehört, ganz anders als die von ,& the Charm". Während dieses Album, wie Emerson sagt, ,sanft und intim" war, ist es diesmal energiegeladener, weil Emerson genau überlegt hat, wie das Material live rüberkommen würde. Das Ergebnis ist ein bandorientiertes, aber grooviges und tanzbares Werk. Der von Breakbeats untermalte Titel ,Eden" hat einen ,baggy" Sound, der an Dance-Rock-Hybride der späten 80er und frühen 90er Jahre erinnert. Der witzige Titel ,How Dare This Beer" wurde als liebevolle Hommage an die Magnetic Fields geschrieben. ,Die Jahre 1987 bis 1994 sind für mich die beste Ära der Musik", sagt Emerson. ,Und mit Nathan überschneiden sich unsere musikalischen Vorlieben ziemlich stark." Nathan ist Nathan Jenkins, alias Bullion, der ,& the Charm" mitproduziert hat und nun zurückgekehrt ist, um den Großteil des Nachfolgealbums zu übernehmen. Ein Großteil der Aufnahmen fand im Winter und Frühjahr 2024 in Braintree, England, statt. Die beiden mit Rostam Batmanglij koproduzierten Tracks (,Jupiter & Mars" und ,Earth Alive") wurden in Los Angeles aufgenommen. Synth-Elemente wurden in der Synth Cabin bei Rosen Sound in Glendale, Kalifornien, hinzugefügt. Obwohl sich die gemeinsame Arbeit an ,Written into Changes" ziemlich von Emersons Solo-Produktionen für die Tanzfläche unterscheidet, ist der Einfluss von Dance-Musik überall zu spüren. Emerson hat sich bei der Arbeit an ihrer Musik besonders auf die tiefen Töne konzentriert. ,Der Bass hatte definitiv Priorität", sagt sie. Emerson schrieb die Melodien und Texte für ,Written into Changes", wobei letztere größtenteils aus ihrem persönlichen Leben stammen. ,Dieses Mal war es mein Ziel, mit meinen Texten etwas direkter zu sein", sagt sie. Der Titelsong, einer der Favoriten der Künstlerin, handelt von ihrem Umzug von Berlin nach Los Angeles im Jahr 2020. Das frenetische ,Happy Birthday" hat eine sonnige Stimmung, die durch sanft-verheerende Texte wie die des Refrains untermalt wird: ,Too young to die / Too old to break through" (Zu jung, um zu sterben / Zu alt, um durchzubrechen). Der Track wurde bereits in Clubs getestet - Emerson hat ihn schon in ihre Sets in Clubs wie der Panorama Bar im Berliner Berghain und im Nowadays in Brooklyn eingebaut. Sowohl ,Eden" als auch ,Country Mouse" sind Oden an Emersons Beziehung zu ihrer Frau Hunter, während ,I Don't Want to Fight" und ,Earth Alive" davon handeln, ,zu erkennen, dass man Menschen nicht ändern kann und versuchen muss, sie so zu akzeptieren, wie sie sind, und manchmal bedeutet das, sie aus der Ferne zu lieben", sagt sie. Written into Changes ist ein Album, das nicht nur davon handelt, Veränderungen zu akzeptieren, sondern sie mit offenen Armen zu empfangen. Fortschritt ist sowohl auf dem Album als auch hinter den Kulissen ein Thema, sodass ,written into changes" eine bewusste Herangehensweise an den Ausdruck und das Leben selbst beschreibt.

Daniel Steinberg debuts on Rekids the Berlin-based Arms & Legs boss drops the ‘Free Living’ EP

Berlin-based producer and DJ Daniel Steinberg lands on Rekids for the fi rst time with the ‘Free Living’ EP, 13th March 2026. Active for over two decades and emerging at the height of the stripped-back, funkier end of minimal house, Steinberg has built a reputation for pairing infectious hooks with tightly programmed grooves, and has ploughed his path via his label, Arms & Legs Records, as well as labels like NuGroove, Front Room, and Southern Fried.

The title track of Daniel Steinberg’s ‘Free Living’ EP sets the tone with slow-slung, dusty House pressure, where restraint and subtlety shape a deep, immersive groove. Blues-tinged vocal fragments sit low in the mix alongside understated trumpet motifs and tender chords, forming a warm-up cut that gradually raises the energy. ‘Concrete Master’ shifts gear entirely, delivering raw, in-your-face house driven by sleazy rap snippets and snarling hits, built for peak-time impact. ‘Seven Sense’ follows with turbo-charged momentum, pairing vamping piano lines with gospel-leaning vocal stabs for hands-in-the-air release, before ‘Perfect Catch’ closes the EP with loopy chords, chopped grooves, and a playful, party-starting sensibility, delivered with characteristic precision. Founded in 2006, Radio Slave’s Rekids expanded with the techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as sole A&R, Rekids continues to champion emerging and established artists alike, remaining a trusted home for house and related sounds, with recent releases from DJ Minx, Echonomist, Tal Fussman, and more.

Meticulously assembled from a good 15 years' worth of source material, Cong Burn boss John Howes' second Paperclip Minimiser transmission proliferates its predecessor's network of turn-of-the-millennium aesthetics and concepts, bringing us closer to the lost future promised by the mid-digital age. If the debut album rooted itself in 2006, using an era-specific rig to activate its vintage Winamp-ready sound, 'II' pushes the clock forward just a little, recycling an unreleased album that Howes engineered in various locations across the north of England, starting way back in 2011. Working quickly and methodically with his homebrewed "DIY DAW" system, Howes improvised live using the record's bank of sounds, transforming the skittering bio-electronic rhythms, bitcrushed modem whines and inclement Lancs soundscapes into a suite of sleek, bass heavy steppers.

Howes has refined his setup and process over the years to function as an antithesis of contemporary production logic, a system that he can use easily to retreat from the excessive layering, overdubbing and editing that plagues modern electronic music. With only limited separate channels in each track, 'II' sounds both archaic and strangely novel. Showing respect to the early days of techno, when stone-cold classics were jammed out live using just a drum machine, a sampler and a couple of synths, Howes simultaneously acknowledges the promise of the transition to a digital future, as nascent algorithmic technology began to rehydrate stale rhythmic and melodic patterns. Fabricating its wrinkled cyberpunk landscape from shovelware blips and whines, spacious environmental echoes and lustrous, plasticky FM hits, 'II' is dense but never congested. It's a reminder that bass music thrives when it's given the room it needs to breathe.

Will Wood's very first LP displays a variety of genres, with a chaotic homemade anti-folk feel and an experimental edge. "Everything is a Lot" began its long production in 2014, when the singer-songwriter was still 20 years old and performing drunken alt-comedy at open mics. With no funding, Wood led a slapdash band into the studio to bring songs mainly from his teenage years to life, and the unstructured production process and youthful experimentation gave it a uniquely loose and chaotic feel. The debut LP's sound is defined by Wood's Jay Hawkins-esque vocal delivery, an out-of-tune old upright piano, wailing wind instruments, jangly guitar, high-powered yet loose drums, and sardonic overdriven kazoo solos. Delivering everything from swing jazz and twee indie pop to pseudo-mariachi and waltz, these sounds and their accompanying bizarre lyrics come together to match the existential title, "Everything is a Lot." Will Wood's early career can be primarily defined by his experimental vocal delivery, honky-tonk piano smashing, and darkly edgy songwriting. While his stylings have matured and taken on a more precise approach, his refusal to conform to expectations and constant shifts in the genre have continued to be hallmarks of his songwriting and production. In his "Will Wood and the Tapeworms" releases (Everything Is A Lot in 2015, SELF-iSH in 2016), audiences can see the first glimpses into what would eventually become his signature style, presented in a uniquely raw and chaotic state of potential.

ARSENE returns to his native Chicago with a 4 piece slab of the real windy city house sound - this time appropriately sized up to 12" & including the full length version of "JACK SHIT". The other 3 bangers on the EP are "THE BREEZE OF YOUR SHIRT", "SMACKING YOUR HEAD" and "DX DAYS".

Guti returns to Crosstown Rebels with improvisational new EP, ‘You Know Ya Miss Me’.An exploration of instinct, groove, and the new Latin sound, the Argentinian live maestro returns to Damian Lazarus’ imprint on 13th March 2026.

A new wave of Latin-infused groove arrives on Crosstown Rebels, and South American favourite Guti is at the helm. Returning to Damian Lazarus’ imprint with a release that captures his music in its most immediate and expressive form, his four-track ‘You Know Ya Miss Me’ EP marks his first material on the label since 2020, reigniting a relationship that stretches back over 15 years. For the Argentinian artist, the studio has always been a living room, a jam space, a place where ideas can breathe, collide, and evolve naturally. Throughout his career, Guti has blended groove-driven house and Latin percussion into a signature sonic language in which spontaneity guides the process. The result here is a new release that feels as alive as it does intentional, designed for ears, hearts, and dancefloors alike.
Title track ‘You Know Ya Miss Me’ opens with warm rhythmic layers and subtle instrumental interplay, a space where melody and movement coexist freely. ‘What You Give’ follows, pulsing with the organic energy of jam-session dynamics, each percussive gesture and melodic line alive with intention. On the flip, ‘The Truth’ unfurls a rich tapestry of percussion, soulful vocals, and improvisational motifs, while ‘La Nueva Onda Latina’ closes the EP as a vivid statement; an embodiment of the “new Latin sound” at the heart of Guti’s ethos, where instruments, electronics, and collaborative energy meet on equal footing. At its core, ‘You Know Ya Miss Me’ is a showcase of a musical mind at work: deliberate yet free, precise yet flowing, rooted in tradition but open to the unexpected. It’s a reflection of Guti’s belief that dance music can be both kinetic and expressive, that improvisation and groove can coexist, and that the most resonant sounds are born when musicians let go in the moment. This EP invites listeners into that space, to move with the rhythms, and to experience a sound unmistakably Guti; organic, vibrant, and alive.

Audience’ was a 14-track record that signalled a shift back to Hayes Bradley's dancefloor roots. It was a collision of breakbeats, trip-hop, and ambient textures that perfectly balanced nostalgia and forward-thinking sounds, and now it gets spun into all new worlds by some of the scene's most acclaimed contemporary stars.

Special Request, aka UK powerhouse Paul Woolford, has shaken up the scene with his thrilling mix of jungle, bass, techno, rave, and hardcore in recent years. The hugely prolific producer knows exactly how to blow up the club and does that here with two reworks of '& I Love U'. The Special Request Extended Mix is a meticulously crafted jungle workout, featuring precision drums, rising synth tension, and gorgeous melodies that dart throughout and will appear on the vinyl release only. The VIP version focuses more on celestial memories for a heavenly escape.

Next is Shanti Celeste, a house and garage favourite who crafts emotional, high-impact sounds on her own Peach Discs. Her remix of 'Play It As It Lay' is a bubbly, soft-focus, late-night sound with earworm synth motifs and rich bass that sinks you in deep for a nice, heady trip.

Piori is an alias of Canadian musician Francis Latreille, who has built a sprawling discography full of hyper-detailed techno steeped in science fiction and fantasy. He flips 'Awareness' into a zoned-out affair, with broken beats and cosmic synth waves over a bold bassline that shows, once again, why his productions are in such demand.

Last but not least is Kaifeng-born sound artist, DJ, and producer Yu Su, whose truly unique sound has made her a cult underground star. She flips 'Dear Treasure' into a slow motion and sleazy chugger with dark disco energy and raw live drums, shady vocal loops and otherworldly melodies that seep into your consciousness.

The ‘Haris – Fourtrack EP’ marks the debut release from Shimmy, a new reissue label with a sharp ear for overlooked gems. Originally released 25 years ago and long coveted on Discogs, this sought-after EP finally returns to the shelves, breathing new life into a classic of the tech house underground.

Haris made his mark in the late ’90s and early 2000s with releases on iconic labels like Oblong and his own imprint, Laus Records, collaborating with scene heavyweight, Terry Francis. Renowned for his mastery of rolling, groove-led tech house, Haris crafted a sound that remains timeless and endlessly playable.

Each of the four tracks delivers a distinct flavour for different dancefloor moments, offering real depth and versatility across the EP. Expect snappy tribal percussion, eerie synths, haunting vocals and deep, driving basslines - all the essential ingredients for a late-night shimmy.

Manaccan ep is a blend of dub and Detroit techno tracks.

Merv (Denmark) are known for their dubby Basic Channel like sound. Elevation is a natural successor to the timeless classic 'Dust'.

Ohm (Denmark) and Octal Industries (Estonia) have been industry stalwarts for decades. Their experience is evident in the BS1818 debut track 'Journey': a functional track in the Scandinavian dub techno style.

Kuba Sojka (Poland) is back on Boomstraat 1818 with a remastered version of 'Rain', which was originally released on Rohs! The track deserved a vinyl release and Kuba rebuilt the track from scratch.

Stroef (Netherlands) his track 'Boxed In' was originally released on OHM Series Digital. This version is reconstructed for the vinyl release on Boomstraat 1818.

London-based, Wrexham-raised artist and producer Art School Girlfriend announces her third studio album 'Lean In', due March 11th 2026 via Fiction Records. She also shares new track 'The Peaks', and announces a 2026 run of headline dates. Armed with the freedom and space to experiment, 'Lean In' was self-produced in her own East London studio and sees Art School Girlfriend set to move from cult bedroom artist to one of the UK's most vital artist/producers operating at the moment, tackling alternative rock, electronic pop and experimental ambient sounds in her most cohesive work to date

Russell Paine (Super Disco Edits).

These four tracks simply blew me away when I heard them. Its raw disco funk cosmic energy that you just can't replicate. Sometimes when you get a long disco track that's eight or ten minutes long, mundane thoughts and loss of interest can start to kick in once the dums and bongo's have faded.

This isn't the case with Magique. You just keep joining the rocket ride to the stars.

From the social message disco funk of "Inch By Inch" which is still relevant to today's social problems. "Dancin" and "Disco Nights" epitomise why we love disco.

And finally "Disco Cowboy" has a sound that harks back to those Plainfield NJ P-Funk roots. I think if any of the Dj pioneers from the 1970's stumbled across these they would have been etched in Disco Folklore!