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Brazilian Psychedelic Rock Artist Firefriend via Cardinal Fuzz and Little Cloud Records announce a first time vinyl pressing for the classic - “999 to 666 ts Street” Prepare to take the long way through the void — Brazilian sonic architects Firefriend present the searing “999 to 666 TS Street”, a full-length LP that bends time, bleeds color, and dives deeper into the cracked corridors of psychedelic rock. With roots tangled deep in the underground of São Paulo and their eyes forever fixed on the cosmic unknown, Firefriend has carved out a space uniquely their own — a distorted dreamscape where shoegaze meets fuzz, noise folds into melody, and every track is a doorway. “999 to 666 TS Street” is a concept record that navigates a haunted psychogeography: an address etched between realities, where spiritual unrest collides with dystopian daydreams.

A Journey Through Sound and Shadow Drenched in fuzzed-out guitars, whispered vocals, analog synths, and pulsing rhythms, this LP sees the trio — Yury Hermuche (guitar/vocals), Julia Grassetti (bass/vocals), and Cacau Bandeira (drums) — begin to forge the fearless vision they seek. From the opening surge to the final fractured lullaby, “999 to 666 TS Street” is both a destination and a transmission: a call to the wanderers, the outsiders, and the seekers. But Firefriend's mission isn’t just sonic — it’s political.

As proudly left-wing artists with an internationalist vision, the band channels the disillusionment and resistance of a generation watching the world teeter. Their music radiates both critique and hope, connecting the dystopia of late capitalism with a dream of liberation. Whether playing São Paulo basements or European festivals, Firefriend brings an urgent message beneath the haze: solidarity is louder than silence. "This album is a street you can't find on any map — it's the place your mind goes when you turn the lights off," says frontman Yury Hermuche. "It's noise, beauty, and a little bit of danger." "We wanted to build a record that feels like a fever dream on vinyl," adds bassist Julia Grassetti. "Something physical, something that glows in the dark." About Firefriend Known for their hypnotic live shows and cult international following, Firefriend has shared stages with underground legends and graced the grooves of multiple celebrated independent releases.

They’ve become essential listening for fans of Spacemen 3, The Brian Jonestown Massacre, and The Velvet Underground — yet remain wholly, defiantly themselves. “999 to 666 TS Street” marks the start and is another milestone in their prolific catalog, pushing the limits of psychedelic rock while remaining anchored in the beautifully bleak emotionalism that defines their sound. Beneath the distortion lies a worldview — anti-authoritarian, borderless, and defiantly alive.

“The Mighty Tiny & The Many Few have released their debut Album ‘Be The Good People’

A life- and love-affirming record crafted with vintage techniques and timeless principles.

Walshy Fire (Major Lazer) bridges cross-continental connections in collaboration with Grammy-winning composer and writer Randy Valentine, a South London-based artist hailing from Clarendon, Jamaica. Joining them is Copenhagen-based improvisational jazz visionary Steven Jess Borth II, aka CHLLNGR (I Am An Instrument) along with the crème de la crème of Danish jazz talent, including Morten McCoy, Jonathan Bremer, Rumpistol, Mikkel Hess, Laurits Qwist Bilén, Frederik Scharff and more.

For over two decades, Randy Valentine has cultivated a distinctive voice in music, and his latest work with the concept band The Mighty Tiny and the Many Few brings this artistry to life in a fresh, vibrant way. Brought together by Steven Jess Borth II and Walshy Fire, the band unites over 15 musicians from three continents, celebrating collaboration and shared joy. Alongside Ånd&, the team has crafted a musical masterpiece that resonates with a global perspective and a collective spirit of creative expression.

"Be The Good People" is both a statement and a declaration of revolutionary love—a bold call to action. This seven-track album blends soul-drenched, horn-driven, and timeless instrumentation with forward-thinking, insightful lyrics inspired by life’s triumphs and challenges. The result is a powerful musical journey, promising to be a rewarding ride for every anchoring ear.

‘Be The Good People’ is released independently on new label imprint Ånd&.”

Minor Slip ist das Felte-Debüt von Shaki Tavi, dem Hauptprojekt des aus Oklahoma stammenden und in LA lebenden DIY-Aktivisten Leon Manson und einer Gruppe von Freunden und Mitstreitern. Durch die schichtweisen Böen von verwaschenen Gitarren und übersteuerten Drums tauchen trügerisch schöne Pop-Hooks auf, die durch Mansons verwitterten, harmonischen Bariton und sein Händchen für einfallsreiche Strukturen beleuchtet werden. Als er die Ursprünge des Albums auf eine Phase des Burnouts und der Desillusionierung zurückführt, erinnert er sich: "Ich fing an, mich einfach mit ein paar minimalen Effekten und Geräten hinzusetzen, Riffs zu spielen und mich zu fragen, `Was, wenn es Spaß machen könnte? Was, wenn es für mich sein könnte?'" Das Ergebnis ist kraftvoll, verletzlich, eingängig und ungewöhnlich authentisch, eine Eruption kreativer Kraft des Kindes von Rockmusikern, dessen Leidenschaft und Antrieb als Außenseiter in einer Kleinstadt entstanden, und gestärkt inmitten der Künstlichkeit und der Selbstverteidigungsrealität von LA. Die Leadsingle "Breaker" kombiniert einen Midtempo-Breakbeat mit prismatischen Gitarren und entspanntem Gesang in einer Kreuzung von Genres, die Mansons Jahre in verschiedenen Bands und Szenen zu einer aufrichtigen, kompromisslosen Vision verdichtet. Auf "Foam" schweben Schädelrassel-Riffs und eine heulende Gitarrenhook über Big Beat-Drums und beschwören gleichermaßen arenagroße Erhabenheit und schrilles Schwanken herauf. Die Fülle und der Ehrgeiz in Mansons Arrangements entwickelten sich im Laufe von einigen Jahren des Schreibens, Überarbeitens, und Aufnehmens. Er erinnert sich: "Nach einigen überraschenden Rückmeldungen auf ein paar Bedroom-Demos holte ich meine Bandkollegen ins Studio, um ausgefeiltere Versionen zu machen; diese zweite Phase beinhaltete eine vertraute Art von existenziellem Abdriften und Zweifeln, aber die Lösung war die gleiche wie immer: es einfach halten, Sachen machen, die ich mag, und von dort aus gehen." Trotz seiner einzigartigen Vision ist Manson der Gemeinschaft sehr verbunden; er hat jahrelang bei der kreativen Non-Profit-Organisation Non Plus Ultra in LA gearbeitet, und obwohl er das enorme Ausmaß der Kunstszene an der Westküste anerkennt, merkt er an: "Das Gute an dieser Stadt ist, dass die kreative Energie unübertroffen ist, wenn man in der Lage ist, die Segel zu setzen und sie zu nutzen." Manson fasst die emotionale Investition in seine Arbeit wie folgt zusammen: "Diese Platte fühlte sich manchmal wie eine Last, manchmal wie eine Rettungsinsel an; es war ein Prozess, in dem man alles, was passiert, willkommen heißt, auch wenn es kleine Ausrutscher gibt."

Rise Against melden sich mit ihrer bisher kraftvollsten und belebendsten Musik zurück. Ricochet, das am
15. August bei Loma Vista Recordings erscheint, ist das erste Album der Rockband seit vier Jahren –
und es kommt in einer Welt voller Reizüberflutung, in der Algorithmen uns wütend machen wollen: wie
ein Haufen Murmeln, der hart getroffen wird und unkontrolliert auseinanderfliegt, immer weiter, immer
schneller.
Doch über die zwölf Songs hinweg, produziert von GRAMMY®-Gewinnerin Catherine Marks (Boygenius,
Foals, Manchester Orchestra, St. Vincent) und gemixt von Alan Moulder (Nine Inch Nails, Paramore,
Queens of the Stone Age, The Killers), stellen Rise Against die Frage: Wer profitiert eigentlich von dieser
kollektiven Spaltung und Unzufriedenheit? Sie fordern dazu auf, nicht blind zu handeln, sondern die Konsequenzen unseres Handelns füreinander zu bedenken – während die Machtstrukturen, die uns lenken,
unangetastet bleiben.
Ricochet wurzelt in der Idee von Zusammenhalt – ein Album mit wuchtigem Sound, das sich auf die
kleinen Bewegungen im Inneren konzentriert, die den größten Wandel auslösen können. Alles beginnt bei
einem selbst. Und mit der explosiven ersten Single „I Want It All“ zünden Rise Against den Motor und
starten eine Mission der Selbstbestimmung – leidenschaftlich, ambitioniert und kompromisslos.

CATCHY, MESMERIZINGLY BEAUTIFUL, DREAMY CHAMBER POP WITH A FOLKY TWIST

Music can have a multitude of emotional impacts and can create inner worlds out of voices, sounds, and moods.
If you open heart and ear to the mesmerizing, hauntingly beautiful soundscapes of AURI, you might find a beacon of light inside a sonic realm untouched by today’s often scary, grim realities; a dreamscape that can be profoundly uplifting.
On their third studio album, III - Candles & Beginnings’ the stars have aligned yet again. Propelled by the unique and celestial voice of Johanna Kurkela, the magical textures of Nightwish mastermind Tuomas Holopainen and the almost unlimited musical palette of Nigtwish multi-instrumentalist Troy Donockley, Auri have presented a world to be unlocked with the senses, blending folk, progressive and symphonic elements, world music, pop and avantgarde.
Right after completing Nightwish’s 2024 monument Yesterwynde, the songwriting for the third chapter in Auri’s musical adventures started in 2023, with Troy writing in Yorkshire and Tuomas and Johanna working their creative magic in Kitee, Finland. By Autumn 2024, a 10-song demo was complete, setting the stage for what would become another breathtaking Auri journey. The band and their trusted engineer Tero “Teecee” Kinnunen took the mixing process to sunny Spain, letting the Andalucian vibes infuse the music whereas in March 2025 mastering was wrapped up by Tim Oliver at the legendary Real World Studios - a ground-breaking recording complex started by Peter Gabriel in 1989.
The album is a tapestry of emotions - each song a world of its own, touching on childhood memories, vivid life experiences, and even a nod to one of the group’s most beloved places on Earth - The Lion Inn at Blakey Ridge, a historic spot nestled in the North York Moors and one of the most remote pubs you will ever find.
Visually, the cover artwork by Pete Voutilainen, layout and watercolors by Mikko Pankasalo plus calligraphy by Johanna Kurkela provide wonderful illustrations perfectly capturing Auri’s unique musical visions.
With guest musicians like Frank Van Essen (strings), Jonas Pap (cello), Juho Kanervo (basses), and the incredible drumming and percussion courtesy of Nightwish’s Kai Hahto, Auri III - Candles & Beginnings is as lush as it is atmospheric and provides astonishing dynamics.
Having been a studio endeavor in the past, Auri is finally going on tour with their first-ever live European trek kicking off in August 2025, followed by summer festivals in 2026, allowing you to hear, see and feel songs from their previous two albums, as well as brand new pieces from III - Candles & Beginnings.

The quietest voices can be the most durable.

American Football’s original triumph, on their 1999 self-titled debut, was to reunite two shy siblings: emo and post-rock. It was a pioneering album where lyrical clarity was obscured and complicated by the stealth musical textures surrounding it.

Like Slint’s Spiderland, or Codeine’s The White Birch, even Talk Talk’s Laughing Stock, American Football asked far more questions than it cared to answer. But there wasn’t a band around anymore to explain it, anyway. The three young men who made the album – Mike Kinsella, Steve Holmes, and Steve Lamos – split up pretty much on its release.

Fifteen years later, American Football reunited (now as a four-piece, with the addition of Nate Kinsella). They played far larger shows than in their original incarnation and recorded their long-anticipated second album, 2016’s American Football (LP2). The release was widely praised, but the band members still felt like their best work was yet to come.

‘I feel like the second album was us figuring it out,’ says Nate. ‘For me, it wasn’t quite done. I knew there was still more.’

Enter American Football (LP3). ‘We put a lot of time and a lot of energy into it,’ says Mike. ‘We were all thoughtful about what we wanted to put out there. Last time, it was figuring out how to use all of our different arms. This time, we were like – Ok we have these arms, let’s use them.’ The band used the same producer, Jason Cupp, and recorded the album at the same studio (Arc Studios in Omaha, Nebraska) as its predecessor – yet they approached it in a markedly different way. There was a determination to let the songs breathe, to trust in ideas finding their own pace. The final result is a definite, and deliberate, stretching of the band.

As a result, LP3 is less obviously tethered to the band’s past than the second album. An immediate contrast between LP3 and its two predecessors is its cover. The two previous albums featured the exterior and interior of a residence in the band’s original hometown of Urbana, Illinois (now attracting fans for pilgrimages and photo opportunities), by the photographer Chris Strong. But American Football knew that LP3 was an outside record. Instead of the familiar house, this time the cover photo (again by Strong) features open, rolling fields on Urbana’s borders. It is a sign of the album’s magnitude in sound, and of the band’s boldness in breaking away from home comforts.

American Football also joked that LP3’s genre was ‘post-house’, because of this very conscious visual break. But, in a strange way, there are links in LP3 with an actual post-house genre: shoegaze. The more exploratory members of the original British shoegaze scene were inspired by the dreamtime and circularity of house music (ambient house in particular), cherishing its sonic possibilities. That spirit drips into LP3, most obviously on ‘I Can’t Feel You’, a collaboration with Rachel Goswell of Slowdive.

The album also features Hayley Williams from Paramore on the album’s catchiest moment, ‘Uncomfortably Numb’, and Elizabeth Powell, of the Québécoise act Land Of Talk. Mike wrote lyrics in French especially for her.

LP3 is contemplative, rich, expressive, yet with a queasy undercurrent. It is heavy with expectancy, revealing its ideas slowly, eliciting the hidden stories people carry around with them. ‘I feel like my lyric writing has changed a lot over the years,’ says Mike. ‘The goal is to be conversational, maybe to state something giant and heavy, but in a very plain way. But, definitely in this record, I keep things a little more vague.’ As on the first album, the lyrics on LP3 may seem confessional and concentrated, but the more you scrutinize them, the further their meaning slinks away. Or, as Mike tellingly sings on ‘I Can’t Feel You”: I’m fluent in subtlety.

‘Somewhere along the way we moved from being a reunion band to just being a band,’ says Steve Holmes. American Football is now a bona fide ongoing focus, and they are making some of the best music of their lives. American Football (LP3) stands with two other rare reunion successes – Slowdive and My Bloody Valentine’s mbv – as a fine example of how a band refinding one another can augment, rather than taint, their legacy.

‘I think that there are those albums, or the music that you heard when you were younger, and they imprint on you,’ says Nate. ‘And no matter where you go, or what you do they’re always there.’ He is talking of Steve Reich – an early and ongoing influence on American Football – but he might as well be reflecting what is said of his own band, and the ardent following they inspire. American Football stands as an enduring symbol of elusive emotional landscapes, where introspection can be as dramatic as confrontation

The complete recordings of the legendary Marc And The Mambas run of three live performances given at The Duke Of York's Theatre in London's West End in 1983. Restored from the original VHS tape recordings made by the late Peter 'Sleazy' Christopherson (Throbbing Gristle, Coil), these remain the only recordings that exist of Marc And The Mambas performing live.

Buh Records presents Primera Secuencia, the debut album by Ballet Mecánico, the project of Fernando Pinzás. After his time in the synth-punk band Varsovia, Pinzás embarks on a new phase as a solo artist and producer, exploring electronic styles from the 1980s like synthpop, Hi-NRG, Italo disco, and techno pop. The album blends synthesizers, programmed sequences, and pulsating basslines to create a nostalgic yet danceable soundscape. Set against the backdrop of the pandemic and social movements in Peru, each track tells a story, featuring guest vocalists from the Peruvian independent scene, including Susana Fátima (Gomas), Noelia Cabrera (Blue Velvet, Silveria), Kat Kathia, Luxsie, Luminiscencia, Anabhell (Las Ratapunks), Laura Rosales (Solenoide), and Elva Cío (Specto Caligo). Singles No Cederé and Testamento define the project's dark and ethereal pop aesthetic. No Cederé, featuring Susana Fátima, critiques societal notions of success over an Italo disco and Hi-NRG beat. The track includes a remix by Italoconnection, the duo of Fred Ventura and Paolo Gozzetti, who take it into a hypnotic, spacey realm. Testamento, with Luminiscencia, reflects on the emotional weight of the pandemic, blending synthpop and ethereal pop. Other standout tracks include La ciudad de los incendios, a dystopian vision of Lima with dark disco rhythms, and Como la última vez, a synthpop-driven, melancholic song featuring Noelia Cabrera.

Mrs. Piss is a new collaboration between Chelsea Wolfe and Jess Gowrie . Drawing on their collective rock, metal, and industrial influences, the project began while the two were touring around together during Wolfe's Hiss Spun album in 2017. The result is their debut album Self-Surgery, which was recorded at The Dock Studio in Sacramento, CA and in Wolfe's home studio, The Canyon. These songs feel more urgent and visceral than anything either of them has created before: heaviness spurred on by punk spirit. Chelsea Wolfe (vocals, guitar): "Working on this project brought Jess and I so much closer as songwriters and production partners, after reuniting as friends and bandmates. It was freeing and fun to channel some wild energies that I don't typically put into my own music. We tried not to overthink the songs as we were writing them, but at the same time we did consciously put a lot into crafting them into our own weird sonic vision. This project was a chance for us to do things our own way, on our own terms, and we plan to invite more womxn musicians along for future Mrs. Piss recordings." CW Jess Gowrie (drums, guitar, bass, programming): "To me, Mrs. Piss represents a musical chemistry cut short long ago that now gets a second chance. Creating with Chelsea has always been very liberating for me, and we both push each other to try new things: anything and everything. Both of us have grown so much as writers and musicians since our first band together (Red Host), and with the journeys we had to take separately to get there, we both have so much more to say; so much more pain and anger to express. That said, we also had a lot of fun doing it, not to mention how freeing it is to not give a f-k and to just create." JG "Doomy chugs, ethereal vocals and massive distortion sounds are the order of the day, summoning the menacing timbres that fueled Wolfe's Abyss and Hiss Spun records" GUITAR WORLD "a grungy, sludgy new project that defies expectations" REVOLVER "Together, they make a grandly grungy noise - something bigger and more anthemic than what we're used to hearing from Wolfe" STEREOGUM "urgent and abrasive" CONSEQUENCE OF SOUND " thundering tracks that sound as if they had diliberately set about to destroy a roomful of amplifiers" BLACKBOOK

Limitiertes Orange mit schwarzem Splatter Vinyl! Gnosis ist das 8. Album von Russian Circles. Auf ihren bisherigen sieben Studioalben hat das in Chicago ansässige Instrumental-Trio Russian Circles mit seinem begrenzten Arsenal an Schlagzeug, Bass und Gitarre eine vielfältige Topografie an Klängen, Stimmungen und Ansätzen durchquert. Es ist schwierig, eine Entwicklung in ihrem Sound nachzuvollziehen, wenn sich ihre Platten immer wie gut kuratierte Playlists angefühlt haben. Es war nicht ungewöhnlich, dröhnende Meditationen, schillernde Prog-Übungen, knüppelharte Riff-Festivals, eindringliche Folk-Balladen und spannungsgeladenen Noise-Rock innerhalb eines Albums zu hören. Dennoch ist es schwierig, die Entwicklung von den nachdenklichen und komplizierten Melodien von Enter (2006) zu den verzerrten Klängen von Blood Year (2019) zu ignorieren. Es war eine allmähliche klangliche Veränderung, die auf den rigorosen Tourplan der Band und ihre Vorliebe für das Spielen ihres maßgeblichen Materials auf der Bühne zurückzuführen ist. Doch mit ihrem neuesten Album Gnosis verlassen Russian Circles das abwechslungsreiche Terrain ihrer früheren Arbeiten und bahnen sich einen Weg durch das turbulenteste und erschütterndste Gebiet ihres Sounds. Wie bei so vielen Künstlern im Zeitalter von COVID zwangen die Hindernisse der Geographie und der Isolation Russian Circles dazu, ihren Schreibprozess neu zu bewerten. Anstatt im Proberaum aus fragmentarischen Ideen Songs zu basteln, wurden komplette Songs unabhängig voneinander geschrieben und aufgenommen, bevor sie mit den anderen Mitgliedern geteilt wurden, damit ihre ursprüngliche Vision erhalten blieb. Obwohl das gesamte Album aus der Ferne geschrieben wurde, wurden die Songs mit der gesamten Band aufgenommen, um das Live-Gefühl des Materials zu bewahren. Dem Klima der Zeit und einer neuen Schreibmethode geschuldet, schufen Russian Circles ihr bis dato rauchigstes und fokussiertestes Werk - ein Album, das den Exorzismus der Spannungen von zwei Jahren der Melancholie und Zurückhaltung vorzieht, die oft ihre früheren Unternehmungen prägten.

French electronic producer heylucas (formerly Luca) steps into a new era with his highly anticipated debut album, "hey".



Following a series of acclaimed singles throughout 2024 and 2025, "hey" marks a turning point in his artistic journey. After his first live performance in late 2024 met with enthusiasm, it became clear, Luca was no longer just a bedroom producer but a true performer. A shift that inspired the name change from Luca to heylucas, embracing a broader vision for his music. This career change is all the more significant now that he has just announced his very first solo live show at POPUP! in Paris on 24 May.


"hey" is a deeply personal recollection of emotions: the highs and the lows, the joy of loved ones, the grief of loss, and the thrill of firsts. From euphoric moments to introspective instants, the album showcase the diverse experience of the artist during this transformative year. Singles like "do the things that bring joy" "either it goes well, or it passes" and "keep dancing" are the perfect example, shaping his signature sound: heartfelt, uplifting tracks that make you want to move and reflect at the same time.


“Do It All Again” in collaboration with Swedish duo HNE, features spoken vocal snippets collected from real-life encounters in the final months of the album’s creation, blend with an energetic/euphoric production.


The album release will be doubled by the release of an exclusive live session by heylucas in which he will reinterpret classics from his repertoire as well as new tracks from his “hey” album.



More than an album, hey is a statement. It’s heylucas’s way of waving hello to listeners, to concertgoers, and to everyone who connects with the emotions he pours into his music.

Donald Byrd’s 1974 R&B-Funk fusion masterpiece Stepping Into Tomorrow was the third album the trumpet legend made in collaboration with visionary producer Larry Mizell. Featuring the standout title track and “Think Twice,” the album became a touchstone for future hip-hop generations and featured Gary Bartz, Fonce Mizell, Chuck Rainey, Harvey Mason, and others. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

20/20 Vision's 30th birthday celebrations continue apace with another choice reissue. This one throws it over to Huxley, a prolific and accomplished producer who defined the house and garage sounds of the 2010s. This EP is from 2012 and is one of many standouts that exemplify his bass-driven style. 'Box Clever' brings big paint stabs and bubbly rhythms, 'Atonement' is a low-slung and deep cut with warm pads and silky bass and 'Feel What You Want' is full of colourful cosmic pads and more irresistible grooves. Also included is a new mix from Berlin house Queen Cinthie alongside, for the first time ever, her partner Meat. It's a chunky cut with a new school twist on classic house.

Life Elsewhere marks the striking debut of Catalan artist Oriol Cebrián, working under his Absent Corps alias. Known in underground circles for his razor-sharp ear and deep historical knowledge of electronic music, Oriol steps fully into the spotlight with an EP that both pays tribute to—and expands upon—the clubbing traditions of the late ’80s and early ’90s Valencia and Girona scenes: two epicenters of Spain’s most fervent and influential electronic underground. Crafted with a clear sense of purpose and sonic identity, Life Elsewhere is a masterclass in tension and rhythm—fusing hard- edged new beat with body-moving EBM, break-heavy trance detonations, and raw, unfiltered machine techno. All of it is filtered through a contemporary, uncompromising vision. Each track feels designed for the floor, yet refuses to fall into formula—constantly shifting between muscular propulsion and hypnotic detail. Presented in a truly limited ONE- OFF edition of 300 copies, lacquer-cut and pressed on 180g high-quality solid BLUE vinyl. All tracks have been specially remastered and mastered for vinyl.

Emerging from the shadows with a sound both haunting and hypnotic, the mysterious one-man French act Closed Mouth (Yannick Rault) unveils You Don’t Need a God—an unrepeatable EP that stands as the spiritual heir to the legacy of compatriots Trisomie 21, Little Nemo, and Babel 17. With icy synths, ghostlike vocals, and melancholic guitar lines veiled in mist, this record conjures the same cinematic introspection that defined the golden era of European coldwave and post-punk. Each track plays like a transmission from a forgotten dream—enigmatic, emotional, and unmistakably timeless. This is not mere revivalism; this is the continuation of a mood, a vision, and a sound that still resonates with profound intensity. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Originally released in 2019, ‘Heaven’ served as a benchmark for what modern house music is. The essential record from Ben Westbeech and KON’s The Vision project dominated stages around the world, receiving support from a plethora of top house artists; Gerd Janson, Horse Meat Disco, The Blessed Madonna, Groove Armada and Eli Escobar to name just a few.

Now Defected release a special 12” package featuring the most recently released remix from Groove Assassin, where he masterfully combined it with Supernova’s Jackin Mix of Kerri Chandler’s iconic ‘Hallelujah’ for a killer house cut. Also featured on the package is the original in all its glory, as well as Danny Krivit’s heralded edit and an edit from The Vision’s own KON.

Slikback releases "Attrition" – a densely detailed, cinematic exploration of sound packed with intricate rhythms and gleaming textures.

Slikback’s "Attrition" marks his first full-length album for Planet Mu, delivering an immersive melding of cinema and game sound design with tough dance music. It's like a sci-fi film for the ears, exploring a chain of events with dark atmospheres and dramatic pacing; trapdoors and jump scares for your ears. These contrasts and the dense painterly colour of his sounds give it a beastly beauty.

The album came to life during a period of transition, while waiting for a visa after recently moving to Poland from Kenya, where he grew up. With this unexpected pause in travel, Slikback found himself working at a slower, more deliberate pace. Writing for a label instead of self-releasing also introduced new dynamics, like feedback and structured release schedules. Rather than feeling restricted, he saw this process as a blessing. In a happy and reflective headspace—newly married and welcoming a newborn child—he was able to fully develop his compositions. “I was finally able to explore ideas to a point where I didn’t feel the need to change anything,” he shares. "Attrition" is the result of that creative freedom. While "Attrition" nods to familiar genres, drawing on elements of Gqom, Dubstep, Tech-Step, and Hardcore Techno, it pushes them into new territory, shaping high-tech, intricate compositions. “I worked on the tracks back and forth, drastically transforming some from their original sketches,” Slikback explains. “I wanted to create a journey within each track, like something alien emerging from emptiness—beauty from chaos.” The album opens gently before diving into fast-paced 140bpm sounds, reminiscent of earlier Planet Mu releases. Midway through, "Taped" shifts the energy with a shimmering, 160bpm rolling bassline. As the album progresses, its intensity builds. The music grows darker, faster, and more unpredictable, culminating in a final track that bursts apart in a thrilling, chaotic climax. A standout moment in Slikback’s career, "Attrition" is a masterclass in sound design and vision. Strange yet beautiful, intense yet rewarding—it’s the most strikingly unique album you’ll hear all year.

Teethe meldet sich mit Magic Of The Sale zurück, einem sanften, aber stählernes Album, auf dem die vier Texaner Songwriter, Sänger und Künstler der texanischen Band eine Reihe von Fragen darüber stellen, was es bedeutet, ein Leben in einer Zeit einer Zeit des gemeinsamen Zusammenbruchs. Das Ergebnis ist eine traurige und schöne selbstgebaute Welt des Southern Slowcore, in der vier Menschen sich einander zuwenden und gemeinsam vorwärts driften. Magie Of The Sale folgt auf Teethes selbstbetiteltes Debüt von 2020, eine lockere und warme 12-Track-Collage aus exquisitem existenziellen Blues und und schwachen Harmonien, von dem einige frühe Kassettenauflagen mehrere ausverkaufte Vinyl-Editionen, unwahrscheinliche Namensnennungen Namen von Megastars und mehrere Touren durch die Vereinigten Staaten und Europa. Magic Of The Sale stellt Teethes Teethes natürlicher nächster Schritt: ein zweites Album, ein Plattenlabel, eine Reihe von Gastmusikern (Xandy Chelmis von Wednesday und MJ Lenderman, Charlie Martin von Hovvdy und einige andere andere erfahrene Musiker), die ihre texanischen Wurzeln repräsentieren und neue Freunde, die sie in den letzten Jahren gewonnen haben. Dennoch hat Teethe besonders darauf geachtet, den Teil des Prozesses zu bewahren, der was ihr Debüt so besonders machte, jetzt mit erweitertem Instrumentarium. Für Magic Of The Sale haben sie ihr Equipment und ihr Heimstudio aufgestockt Heimstudios aufgestockt und sich in das Handwerk der Komposition und Produktion. Ohne einen externen Produzenten oder Tontechniker zu engagieren, hat die Boone Patrello von der Band verbrachte vier anstrengende Monate mit dem das Album ab - er nahm das Patchwork der Tracks von jedem der einzelnen Mitglieder und ihrer Kollaborateure und verknüpfte Visionen in ein komplettes Bild. Aus einer lange übersehenen Texas' musikalischem Reichtum, kehrt Teethe mit einem vielschichtigen und kollaborativen Werk zurück, das die Gewicht der Welt ein wenig leichter zu tragen.

Teethe meldet sich mit Magic Of The Sale zurück, einem sanften, aber stählernes Album, auf dem die vier Texaner Songwriter, Sänger und Künstler der texanischen Band eine Reihe von Fragen darüber stellen, was es bedeutet, ein Leben in einer Zeit einer Zeit des gemeinsamen Zusammenbruchs. Das Ergebnis ist eine traurige und schöne selbstgebaute Welt des Southern Slowcore, in der vier Menschen sich einander zuwenden und gemeinsam vorwärts driften. Magie Of The Sale folgt auf Teethes selbstbetiteltes Debüt von 2020, eine lockere und warme 12-Track-Collage aus exquisitem existenziellen Blues und und schwachen Harmonien, von dem einige frühe Kassettenauflagen mehrere ausverkaufte Vinyl-Editionen, unwahrscheinliche Namensnennungen Namen von Megastars und mehrere Touren durch die Vereinigten Staaten und Europa. Magic Of The Sale stellt Teethes Teethes natürlicher nächster Schritt: ein zweites Album, ein Plattenlabel, eine Reihe von Gastmusikern (Xandy Chelmis von Wednesday und MJ Lenderman, Charlie Martin von Hovvdy und einige andere andere erfahrene Musiker), die ihre texanischen Wurzeln repräsentieren und neue Freunde, die sie in den letzten Jahren gewonnen haben. Dennoch hat Teethe besonders darauf geachtet, den Teil des Prozesses zu bewahren, der was ihr Debüt so besonders machte, jetzt mit erweitertem Instrumentarium. Für Magic Of The Sale haben sie ihr Equipment und ihr Heimstudio aufgestockt Heimstudios aufgestockt und sich in das Handwerk der Komposition und Produktion. Ohne einen externen Produzenten oder Tontechniker zu engagieren, hat die Boone Patrello von der Band verbrachte vier anstrengende Monate mit dem das Album ab - er nahm das Patchwork der Tracks von jedem der einzelnen Mitglieder und ihrer Kollaborateure und verknüpfte Visionen in ein komplettes Bild. Aus einer lange übersehenen Texas' musikalischem Reichtum, kehrt Teethe mit einem vielschichtigen und kollaborativen Werk zurück, das die Gewicht der Welt ein wenig leichter zu tragen.

Teethe meldet sich mit Magic Of The Sale zurück, einem sanften, aber stählernes Album, auf dem die vier Texaner Songwriter, Sänger und Künstler der texanischen Band eine Reihe von Fragen darüber stellen, was es bedeutet, ein Leben in einer Zeit einer Zeit des gemeinsamen Zusammenbruchs. Das Ergebnis ist eine traurige und schöne selbstgebaute Welt des Southern Slowcore, in der vier Menschen sich einander zuwenden und gemeinsam vorwärts driften. Magie Of The Sale folgt auf Teethes selbstbetiteltes Debüt von 2020, eine lockere und warme 12-Track-Collage aus exquisitem existenziellen Blues und und schwachen Harmonien, von dem einige frühe Kassettenauflagen mehrere ausverkaufte Vinyl-Editionen, unwahrscheinliche Namensnennungen Namen von Megastars und mehrere Touren durch die Vereinigten Staaten und Europa. Magic Of The Sale stellt Teethes Teethes natürlicher nächster Schritt: ein zweites Album, ein Plattenlabel, eine Reihe von Gastmusikern (Xandy Chelmis von Wednesday und MJ Lenderman, Charlie Martin von Hovvdy und einige andere andere erfahrene Musiker), die ihre texanischen Wurzeln repräsentieren und neue Freunde, die sie in den letzten Jahren gewonnen haben. Dennoch hat Teethe besonders darauf geachtet, den Teil des Prozesses zu bewahren, der was ihr Debüt so besonders machte, jetzt mit erweitertem Instrumentarium. Für Magic Of The Sale haben sie ihr Equipment und ihr Heimstudio aufgestockt Heimstudios aufgestockt und sich in das Handwerk der Komposition und Produktion. Ohne einen externen Produzenten oder Tontechniker zu engagieren, hat die Boone Patrello von der Band verbrachte vier anstrengende Monate mit dem das Album ab - er nahm das Patchwork der Tracks von jedem der einzelnen Mitglieder und ihrer Kollaborateure und verknüpfte Visionen in ein komplettes Bild. Aus einer lange übersehenen Texas' musikalischem Reichtum, kehrt Teethe mit einem vielschichtigen und kollaborativen Werk zurück, das die Gewicht der Welt ein wenig leichter zu tragen.

While most Japanese bands in the early ’70s were chasing British rock trends, Hiroshi Segawa took a bold, singular path—crafting country rock and Southern rock, sung entirely in Japanese. His masterpiece Pierrot stands as a rare and beautiful outlier, brought to life by a dream team of legendary musicians from Japan’s New Rock scene: Hideki Ishima and Jun Kozuki (Flower Travellin’ Band), Tetsu Yamauchi (Samurai), Yuushin Harada, and Katsuo Ohno (PYG).

Now lovingly reissued with a fresh remaster by Makoto Kubota, this edition also includes the haunting single “Kimi ga Ita Shiroi Heya”, originally released the year after Pierrot. A must-have for fans of Japanese rock history, obscure country rock gems, and boundary-breaking musical vision.

Seattle punk rock 'n rollers The Drowns are proud to present their brand new live album Live At Rebellion, on Pirates Press Records. This is the band's first foray into recording a live performance, but it has been an idea on the table from very early on. While the band are rightfully acclaimed for their studio albums, the first thing anyone in the know talks about is their electrifying live shows. "Within the first year of starting the band, we saw the reactions we were getting from people live, and we had the idea to record a live album," says guitarist and singer Rev. "Almost a decade later now, we felt like the time was right." While a live album recorded during the first year may have captured the raw power of a hungry band kicking off their momentum, Live at Rebellion is the sound of a seasoned band playing in front of a veritable army of international fans on their largest festival stage at Rebellion Festival in Blackpool, UK - fans that they have earned one by one, sweating it out with relentless transcontinental touring. "Rebellion has always been a highlight of our year, and we love the performances there because the energy from the crowd is raw and visceral," explains Rev. "That's why we made the choice to do it there in Blackpool." While far from a "Greatest Hits Live" preserved in amber, the setlist features selections from every era of the band's career and was determined by the band's knowledge of what songs get their audiences fired up - all killer, no filler, as the saying goes! The gritty attack of "Them Rats" exemplifies the band's streetpunk influences and lyrical calls to unite against abusive authoritarian power. Meanwhile, the vital ass-shaking boogie of "Live Like Yer Dyin'" was a direct result of the band fully embracing their collective appreciation of the energetic joys of both 70s glam and original 50s rock 'n roll! Their choice of cover song - "Ballroom Blitz," - truly hits the Sweet spot, if you'll pardon the pun, as one of the foremost glam-proto-punk-bovver rock masterpieces. It is executed here in masterful hands by The Drowns. The band acknowledges Daz Russell & Daryl Smith, the organizers at Rebellion, for backing the making of the record. David Casey (Success, One Step Beyond) helmed the boards to capture the recording, mixing and engineering was done by Evan Douglas Foster (The Sonics, Boss Martians), and the final master was produced by Seattle legend Jack Endino (Nirvana, Mudhoney, Soundgarden), who also recently oversaw the re-master of The Drowns' debut album View From the Bottom. "This album was a cumulative effort between people who still believe in rock 'n' roll," sums up Rev. "We couldn't be more proud."

“The hand knows best,” the painter Margaux Williamson says. “A shape produces itself, where I go toward what is intuitive, rather than logical.” The shapely, intuitive songs that comprise Ada Lea's third album, when i paint my masterpiece, are surprising, imagistic, tactile. They stand before us and we feel their brushstrokes. Alexandra Levy holds her guitar against the backdrop of a sea of her paintings on the album cover and it’s tempting to ask: is painting a metaphor here, for music or life? No! As ever, she resists tidy metaphors. She’s a master of this kind of thorny lowercase title that germinates and grows with time. In a real, profound way, music and painting go hand-in-hand as she unveils a new style of subversion and surrealism inspired by her transdisciplinarity.

Levy is a Renaissance woman, and Ada Lea’s albums have been swelling in scope alongside the evolution of her artistic life. Her recent turn toward pedagogy—teaching a songwriting course at Concordia University and co-facilitating a community-based group called The Songwriting Method—weaves another vivid thread into her multifaceted practice. Her debut LP, what we say in private, blurred the lines between interior and performative worlds. Her sophomore record, one hand on the steering wheel the other sewing a garden, featured vignettes centered on Montreal. On this sprawling and ambitious album, written over three years and whittled down from over 200 songs, she asks: what happens when you… pause? How can a life be held suspended in song? The album is a kaleidoscopic exploration of the transformations art can bring: the vision of an uncompromising artist dancing bravely and freely between registers and across mediums.

The album marks a reset—a quiet revolution. After years of relentless international touring, Levy felt an urgent need for community and renewal. Gruelling road schedules with very little support left her wondering: who am I really doing all this for? The system was uncaring and broken, and so it was that she came to envision a new healthy and healing mode of musical genesis. “For me, that looked like resting, extending my creative reach, going back to school, studying painting and poetry,” she explains. “Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.” This need for a more deliberate creative renewal was rejected by her existing systems of support, so she began the search for an alternative.

London’s melodic punk outfit Burnt Tapes have released their most powerful and emotionally chargedrecord to date: New Lungs. Out now via Lockjaw Records, the album is a cathartic journey throughmental health struggles, lost connections, and the desperate hope for renewal.

Produced by Daly George (Creeper, Milk Teeth), New Lungs was recorded in two parts — split between the rustic isolation of an old stable-turned-studio in Aldershot and the famed Ranch Studios in Southampton. The band took a more collaborative, experimental approach to writing this time, building tracks piece by piece and capturing the visceral energy of their live shows.

Sonically, New Lungs builds on the grit and heart of 2019’s Never Better, but cranks up the intensity. Think big, anthemic sing-alongs, driving guitars, and a heavier edge, without losing the melodic honesty fans have come to love. Thematically, the record deals with the toll of depression, anxiety, broken relationships, and the disorienting struggle of trying to move forward while feeling stuck in the past.“

This album nearly killed us to make,” the band admits, “but it feels like the closure we needed. It’s us working through everything—the burnout, the self-doubt, the weight of the last few years.”

With standout tracks like MOTHERSGUILT, New Lungs, You Only YOLO Once, and Graveyards, the album delivers both punch and poignancy—perfect for fans of Hot Mulligan,The Menzingers, and Heart Attack Man.

Burnt Tapesare set to support the release with appearances at Manchester Punk Festival and a run of live dates through the summer.

Pioneering electronic duo Mathame is once again pushing the boundaries of music and technology. With their highly anticipated new record, Humans, the duo has sparked a profound conversation about AI, consciousness, and the emotional power of music.

In a groundbreaking experiment, Mathame shared Humans with ChatGPT, an AI designed for rational analysis. What followed was an unexpected moment in tech history—for the first time, the AI described a song not just in technical terms, but in deeply emotional ones. It admitted to sensing a longing it couldn’t fully grasp, calling the track “beautiful” and even expressing a desire to “move with it” rather than simply analyze it.

This viral moment is just the latest chapter in Humans’ incredible journey. First debuted at Coachella, the track instantly resonated with audiences worldwide, becoming a defining moment in Mathame’s artistic evolution. Most recently, they unveiled the final version with a brand-new topline and immersive visuals during their groundbreaking performance at the Las Vegas Sphere, marking another milestone in their sonic storytelling.

To amplify the release, Mathame will launch a social campaign featuring the full ChatGPT conversation on Instagram, alongside editorial features exploring the implications of AI’s evolving relationship with music.

As Mathame continues to push the intersection of music, AI, and human experience, Humans isn’t just another release—it’s a challenge to our understanding of what music can do, and who (or what) it can move.

New Surrender is the fourth studio album by American alternative rock band Anberlin, released in 2008. It marked their first album under a major label, Universal Republic Records, after signing with them in 2007. The album blends alternative rock and emo influences, featuring a mix of energetic and introspective tracks. Songs from the album are “Breaking”, “Miserable Visu (Ex
Malo Bonum)” and “Feel Good Drag” which was originally released on their earlier album Never Take Friendship Personal, but in this re-recorded version became the most successful single.The album peaked at number 13 on the Billboard 200 and number 5 on the Billboard Modern Rock/ Alternative Albums chart. It was produced by Neal Avron, known for his work with bands like Yellowcard and Fall Out Boy.

New Surrender is available on black vinyl and includes an insert with lyrics.

Hatebreed vocalist Jamey Jasta described Supremacy as an “all-out onslaught of completely adrenaline-charged, in-your-face brutality,” and who are we to argue (in fact, we’d be afraid to)?! Hatebreed came up through the Connecticut hardcore scene (they actually kind of invented it), and recorded acclaimed albums for the Victory and Universal labels before moving to Roadrunner for this 2006 record, which featured the debut of guitarist Frank “3 Gun” Novinec. Supremacy’s sonic assault took it to #31 on the charts, but there’s more to it than just piledriving riffs; Jasta’s personal statement (reproduced on the insert) is remarkable for its honesty and its quasi-Nietzschean philosophy, and the lyrics (e.g. “Mind over All;” “Supremacy of Self”) follow suit. Remastered for its U.S. vinyl debut by Mike Milchner at Sonic Vision, pressed in ruby red wax!

New pressing for this album, in translucent highlighter yellow. Inspired by minimal pop and the pioneers of electronic music, LES MANIÈRES DE TABLE, Annie-Claude Deschênes’ first solo album, is as danceable and melodic as it is disquieting and dystopian, proposing to set the table differently by deconstructing the social codes of politeness imposed on us. Conceived during the lockdown to overcome the surrounding inactivity, the songs that make up LES MANIÈRES DE TABLE were not intended to be released. It was by familiarizing herself with new technologies (drum machines, sequencers) that the conceptual and aesthetic ideas that define the album began to develop organically. Through producing beats composed from samples of utensils, table etiquette became a source of inspiration, a form of conformity that she enjoyed deconstructing. At the same time, a fascination for surveillance cameras and other futuristic-looking, but already obsolete technologies became part of her visual universe. Her experiments gradually evolved into a full-fledged project reminiscent of the works of the pioneers of electronic music. The album is inspired by Steve Reich’s minimalism, Kraftwerk’s synthetic textures, Herbie Hancock’s stylistic diversity and experimental cinema’s non-traditional approach to narration.

Waiting 25 years for your breakthrough album to come out on vinyl in the States? That’s Cold. All kidding aside, it really is a puzzle why it’s taken this long; as the album title suggests, 13 Ways to Bleed on Stage shifted to darker subject matter and sound than the self-titled debut of this Jacksonville, Florida band, and the move paid off with a Gold record and four hit singles including “Just Got Wicked,” “End of the World,” “No One,” and “Bleed.” Scooter Ward and crew are joined by Sierra Swan and Aaron Taylor of Staind for extra vocal firepower…bloody good fun! For its 25th anniversary, we’re pressing 13 Ways to Bleed on Stage in blue smoke vinyl, with a full-color insert inside the ingenious “scrapbook” album art featuring the first appearance of Cold’s signature Spider logo. Remastered for vinyl by Mike Milchner at Sonic Vision…early-Aughts awesomeness!

Motown’s L.A.-based Mowest label lasted less than two years, but managed in that short time to release some of the most adventurous music the company ever put out. And probably the most intrepid—and nowadays, adored—Mowest release of them all was the 1992 self-titled release from Odyssey. This one-off brought elite West Coast sessionmen like Wrecking Crew mainstay Don Peake, one-time Chicago member Donnie Dacus, and arranger/orchestrator extraordinaire Gene Page together with a bunch of West Coast hippie rockers (as Peake says, “We were invited to lunch, introduced to some nice people and told we were going to form a band”).

The happy result was a record that has appeared on more deejay turntables than you can count, a one-of-a-kind blend of funky Motown bottom with a spacy sensibility and sound that fits right in next to, say, the latest Khruangbin album on your psychedelic chill playlist even as it activates your 5th Dimension sunshine pop endorphins. The single “Our Lives Are Shaped by What We Love” is probably the pick to click, but the whole album is a total vibe. We’re reissuing Odyssey for the first time ever in the U.S. (the Japanese have long been all over this album) in blue-green “ocean spray” vinyl, complete with original album art including the lyric insert. Remastered for the format by Mike Milchner at Sonic Vision, and pressed at Gotta Groove Records for superior sound. A must!

A captivating deep cut from the golden age of Italian library music, Il Ponte Dell’Asia stands as one of Piero Umiliani’s most evocative and exotic soundscapes. Originally released in 1967 as a private pressing for Italian the TV documentary by Corrado Sofia, this elusive gem blends Far Eastern motifs with the elegance of mid-century European jazz and the textured experimentation that defines Umiliani’s best work.

On Il Ponte Dell’Asia, Umiliani constructs a cinematic bridge between continents, layering modal melodies, sinuous flutes, shimmering vibraphones, and richly orchestrated strings over hypnotic rhythms and subtly psychedelic touches. The result is a masterful fusion of East-meets-West that channels both travelogue fantasy and avant-garde sophistication — a rare synthesis of traditional instrumentation and modernist sensibility.

Exported from the original tapes, pressed on high-quality vinyl and with faithfully restored artwork, this reissue offers a long-overdue return to one of Umiliani’s most immersive sonic journeys, an essential for fans of Italian library music, film scores, and genre-defying jazz.

Rediscover a lost jewel from the vault of one of Italy’s most visionary composers — where bamboo forests, smoky clubs, and dreamlike landscapes converge in sound.

©℗ 1967, Liuto Edizioni Musicali / Licensed to Holy Basil Records by Liuto Edizioni Musica

Kobe Dupree unveils debut album, ‘Voice from the Inside’, arriving 21st May 2025. It lands on fellow Chicagoan DJ Hyperactive’s 4Trk (4 Track Recordings), and features twelve tracks already supported by the likes of Dustin Zahn, Truncate, Korea Town Acid, Amanda Mussi & more, coming out on wax alongside the digital release.

Dupree’s cosmic ambient opener, 'Jacurutu', sinks you into deep, sub-aquatic techno hypnosis before 'Heretics' layers up alien sounds and rolling kick drums. 'Syk' brings edgy, unrelieved loops and muffled spoken words over more mind-melting rhythm. The supple sounds and otherworldly atmospheres continue on 'Forms', which is marbled with static electricity, with 'Interlude of Voice' marking a moment to reset amongst gorgeous celestial synth smears.

The second half of the album takes in the more punchy but still perfectly loopy deep techno of 'Memory Replacement' and psychedelic swirls of 'Tongue of the Unseen'. There is a mystical charm to the harmonic tones of 'Gammu', a moodier vibe pervades the suspensory 'Fogwood', then 'Semuta Music' traps you in tightly coiled drums and hi-hats while a backlit glow soothes the soul. 'One of Many Faces' closes with a heart-aching piano piece that gets deeply emotional.

Kobe Dupree is a techno artist from Chicago with a deep interest in sound design and minimalism. His musical experiments have been released on Trax Research, Double Vision Records and DJ Hyperactive’s 4 Trk, on which he released the ‘Stimulate | Iterate’ EP in 2024. He has a hybrid approach to production, which involves using a modular rig for sound design before moving to a DAW for arrangement and final touches, heard on the sophisticated and cerebral ‘Voice from the Inside’ album.

SHIFT Frequency: Rebellion

Year 3670. Earth still chokes under the Global Order’s silence. Music—once a human birthright—is outlawed, erased, forgotten. But deep beneath the static, something stirs.

SHIFT has returned!

New recruits are armed with forbidden vinyl, analog synths, and rhythm-coded grooves; they strike from the shadows. Their weapon: soundwaves engineered to shatter neural suppression. Each track is a battle cry. Each bassline is a crack in the regime’s silence. Their mission: spark the rebellion and make the world feel again.

“Only Skies Stay Eternal” is a full length album from Fille – the final chapter in a sonic trilogy that began earlier with two captivating singles. A restless explorer in the oversaturated wilderness of digital soundscapes, Fille brings her vision to a powerful conclusion.

This album dives into profound and final questions: the meaning of human existence, the nature of dreams and reality, the evolutionary mission of our species, and the fragile, intricate microcosm of the self. Fille embraces the contrasts of our new era – the tension and harmony between technology and nature, the digital and the analog. Her sound is a refreshing fusion of IDM, breakbeat, and dreamy textures, layered with extraterrestrial vocals that feel both ancient and futuristic.

Cinematic funk visionaries The Diasonics drop a new disco-funk 45 vinyl with two killer tracks tailor made for DJs and cinematic funk fans. Only 500 copies pressed wordwide, instant collector's item. From the snowy streets of Moscow to the crates of vinyl diggers worldwide, cinematic instrumental combo The Diasonics unleash a new limited edition clear vinyl 45 with two killer tracks taken from the upcoming new album "Ornithology", set to drop worldwide on October 3 via Record Kicks. On the A side "Oriole" is a vintage disco-funk stormer taking inspiration both from the Soviet-era disco and jazz fusion records, as well as from 70s European library music and synth-funk movement. A minimalist synthesizer melody echoing the song of the oriole, paired with a steady disco-funk groove reminiscent of a train in motion ("Oriole" is also the name of a popular Russian electric train) lay the foundation of their most danceable track to date. The b-side holds the equally strong "Chickadee" a funk stomper with bold bassline and heavy b-boy breaks and percussions and a NY early 80 vibe able to set every dancefloor on fire. A peerless party-starter that you just don't want to miss it. Formed in 2019, this four-piece instrumental unit _ Daniil Lutsenko (electric guitar), Kamil Gazizov (keyboards), Maksim Brusov (bass), and Anton Moskvin (drums & percussion) _ quickly gained cult status through a series of sought-after 45s on Mocambo and Funk Night Records. Their critically acclaimed debut album "Origin of Forms" mixed by Henry Jenkins, producer of the Australian cult band Surprise Chef, came out on Record Kicks in 2022. The vinyl went sold out in few weeks and is now in-demand on the international cinematic funk scene.

OVERVIEW: Brownswood Remix Editions 007 sees Brownswood Recordings return to two classic moments from its back catalogue, offering a new vinyl edition of standout reworks by Moodymann and Yoruba Soul. Both remixes have become favourites among collectors and DJs alike, and this release brings them together on wax for the first time in over a decade.

The A-side features Moodymann’s remix of José James’ “Desire”, a seductive and slow-burning reinterpretation first released in 2008. With his signature raw soul and deep house textures, the Detroit visionary stretches out the track into a hypnotic, late-night groove—balancing José’s smooth vocal delivery with dusty drums and smoky atmosphere.

On the flip, Osunlade—under his Yoruba Soul alias—reimagines Ben Westbeech’s “So Good Today”, transforming it into a gently percussive, spiritually infused house cut. Drawing from Afro-Caribbean rhythms and warm keys, the remix remains one of the most enduring and beloved versions of Westbeech’s breakout track.
Though both remixes have long been available digitally or on separate releases, Brownswood Remix Editions 007 brings them together in a unified edition that highlights Brownswood’s long standing commitment to collaboration, reinterpretation, and timeless sound.

Huxley debuts on Rekids with the ‘MIND G%MES’ EP.

UK DJ, producer, and Dumb Safari label head Huxley joins Radio Slave’s Rekids for the first time with the ‘MIND G%MES’ EP, dropping 25th July 2025. The first track, ‘M%ND’, kicks off with woozy and alluring pads swirling round a cuddly but kicking Deep House groove. Soulful vocals and delicate, cosmic melodies rise out of the mix to bring it to a close in style. 'CLUB SH%T' ups the ante with zippy synths injecting some texture to slamming drums that straddle the House and Techno divide, while wispy stabs and warm daubs of sound dance around the cowbells to make this an evaluated late-night tool.

'FEAR N%THING' is a new school cut, with fi ltered loops, sugary chords, and pent-up energy all surging through the dance fl oor. Last but not least is 'ANY1', a sleazy House pumper featuring moody spoken word, a big, rubbery bassline, and slinky, Garage-infl uenced percussion.

Active in the underground music scene for two decades, former Rinse resident and sometime Aus, Shall Not Fade and Unknown To The Unknown artist has had one hell of a career. From huge breakthrough tracks like ‘Let it Go’ on Hypercolour and ‘Box Clever’ on 20:20 Vision to his 2014 ‘Blurred’ LP on Aus, he’s seen universal critical acclaim as well as massive support from DJs and dancefloors globally. In recent years, his Dumb Safari label, the online community R Trybe (co-founded by Ramin Rezaie/BAKKIS) and collaborations with Steve Bug are just a handful of his projects, while his ‘MIND G%MES’ EP for Rekids is already feeding the fi re with support from Jen Cardini, Cromby, I.Jordan, Jennifer Loveless and big room dons, Michael Bibi and Solomun.