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It’s been 10 years since ‘Love Over Will’. In that time I have been experimenting with music outside of the purely electronic, working with musicians, other tuning systems and the role of sound in healthcare, amongst other things.

Is With Us is a return to what I love most about electronic music: the combination of sound design, rhythm and emotion. It doesn’t fall into any specific category but is rather a reflection on those elements I find interesting within the context of beats-led music.

Where ‘Love Over Will’ was slightly brooding, ‘Is With Us’ strikes a more positive note, something which wasn’t a conscious decision. It is just a moment in time.

Risk/Reward’s fourth release sees one of the UK’s most prolific and recognizable Producer/DJ’s take the elevator all the way down to the basement of the Tech House sonic spectrum…

Archie Hamilton has achieved superstar status after over a decade of consistently excellent musical output. As the name suggests, Friends in Low Places sees him return to the underground with the rolling, acid-laced, “for the heads” sound that first saw him explode on to the scene 10+ years ago, supplying 3 original tracks that will surprise and delight in equal measure!

A1: NyLon blends the dreamy shades of 90s Italo with the rugged bounce of golden era UK Tech House, to create a beautiful, bold fever dream. Intricate synth melodies, rudeboy vocal cuts and transcendant pads play out over crunchy swinging drums. A bold opening statement to kick off the EP.

A2: The energy kicks up to 11 on Trance-Tech bomb No Signal, a certified weapon of mass dance floor destruction! Vintage Archie rolling 303 bass layered with complex acid lines, haunting siren calls and relentless, gritty drums make for a powerful peak time standout that will have jaws dropping!

B1: On the flip side Archie takes you Higher with another signature roller that’s instantly familiar yet enigmatic. Punchy yet intricate drums, deeply groovy bass, a variety of ear worm melodies and an oh so familiar voice take you up, up and away in to the atmosphere. An instant classic from a man who’s made his fair share.

B2: Returning to the scene he played a key role in building after almost a decade out, UK Tech House DON Gideon Jackson delivers a gargantuan remix that could very easily reduce the club to rubble if not handled carefully. No element of Higher was spared in this rework, but the weight and pressure get cranked up to the absolute fullest - tougher than tough stuff from the OG!

We release our second record, COPPIES002. Another hand stamped white label EP, collecting tunes from thecommunity, for the community. This time with tracks by Kerr Wilson, Salomo, illousion and APRS. Kerr starts on A1 with his "The Key To My Heart". He showed the first version of the track to Robert around 4 years ago in a memorable summer spent together. We made the promise that this will be pressed on record one day and, here it is! Thanks Kerr! It's a melancholic late-summer tune that makes you tear up and feel like the warm euphoria won't last forever, but it will surely return if you're patient. Salomo follows with a similar moody approach on "Say less (on the DF)", even though we can argue about the meaning of the title ;). illousion builds more tension on the flipside with "Masc or Mask". Entering dubby, rolling terrains with more high intensity drum patterns for later moments of the night. APRS is closing the EP with "I Want to Speak" on B2, maybe the counter argument to Salomos desire of a less noisy dancefloor. He crafted a minimal, loopy trip that drags you down the rabbit hole and won't iet you go til the party is over. COPPIES002 is available on vinyl only with digi download option

We are Excited to announce - The Department of Almost with our first full-length LP - Second Office. The Album
will be released via WSNWG on October 9th.
„Developed over extended Berlin studio sessions in January 2026, the record brings together two artists whose
respective platforms, STOOR and WSNWG, have long embraced artistic exchange and open creative practice.
Moving between crafty dancefloor material and more reflective and exploratory compositions, the album
develops a shared sonic language that extends beyond their two unmistakable, longestablished artistic voices.
Across eleven compositions, deliberate dancefloor material is elegantly intertwined with calm and spacious
soundscapes. A propulsive current gives way to passages of suspension and introspection. While rhythm and
atmosphere gradually fold into one another, the record favours gradual transformation over dramatic gesture.
The album's quieter moments open up a more contemplative space, extending its emotional register without
departing from its forward motion. Beneath, a subtle and understated sense of distance evokes spacious
environments and glacial landscapes – topographies in cold light.“
We have setup a preorder with the first Single - Fingerprints - on Bandcamp. A limited special edition will be
released via WSNWG Bandcamp on September 4th - 12.00pm CET.
All Tracks Written, Produced & Performed by Speedy J & Rødhåd in January 2026 at WSNWG Studio in Berlin.
Mastered by Conor Dalton at Calyx Mastering Berlin Vinyl Cut by Lathesville Mastering Berlin
Cover Foto by Thomas Beutel


a A1 Cold Start 260114
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

Dina Summer is the Berlin-based collaborative project of Greek-German dark-disco couple Local Suicide and Bavarian electronic producer Kalipo. The supergroup began working together in 2019 and have since been refining their combined sound. It is a unique blend of their influences, drawing from 80s italo disco, new wave, EBM and early 00s electroclash for a dark retro-futuristic synth/wave pop sound that stands out with club-ready basslines, epic melodic hooks, and lyrics ranging from dadaist abstractions to empowering, thought-provoking themes.

The trio will return with their new mini album, “Children Of The Night”, bringing together all the elements that have defined their sound so far. From the disco infused synth pop of “Burning Heart” and “Bats In Paris,” recalling their debut album Rimini (2022), to the dark club driven tracks “Fuel”, “Komodo 3000”. and the title track “Children Of The Night,” which echo the atmosphere of Hide & Seek (2024), and the dark wave influenced indie songs “Rat Race” and “On The Road”, which would have felt right at home on “Girls Gang” (2025), the release showcases the full spectrum of the band's musical identity. The nine track record takes its title from and pays homage to Bela Lugosi's iconic line in Dracula (1931): “Listen to them. Children of the night… what music they make”.

Format: Ltd transparent clear vinyl

Dina Summer ist das in Berlin ansässige Gemeinschaftsprojekt des griechisch deutschen Dark Disco Duos Local Suicide und des bayerischen Elektronikproduzenten Kalipo. Die Supergroup begann 2019 gemeinsam zu arbeiten und hat seitdem ihren gemeinsamen Sound kontinuierlich weiterentwickelt. Dieser verbindet auf einzigartige Weise ihre Einflüsse und schöpft aus Italo Disco der 1980er Jahre, New Wave, EBM und Electroclash der frühen 2000er. Das Ergebnis ist ein dunkler, retro futuristischer Synth Wave Pop Sound, der sich durch clubtaugliche Basslines, epische melodische Hooks und Texte auszeichnet, die von dadaistischen Abstraktionen bis hin zu empowernden und zum Nachdenken anregenden Themen reichen.
Das Trio kehrt nun mit seinem neuen Mini Album „Children Of The Night“ zurück, das alle Elemente vereint, die ihren Sound bisher geprägt haben. Von dem Disco geprägten Synth Pop von „Burning Heart“ und „Bats In Paris“, der an ihr Debütalbum „Rimini“ (2022) erinnert, über die düsteren, cluborientierten Tracks „Fuel“, „Komodo 3000“ und den Titelsong „Children Of The Night“, die die Atmosphäre von „Hide & Seek“ (2024) aufgreifen, bis hin zu den von Dark Wave beeinflussten Indie Songs „Rat Race“ und „On The Road“, die ebenso gut auf „Girls Gang“ (2025) hätten erscheinen können, zeigt die Veröffentlichung die gesamte Bandbreite der musikalischen Identität der Band.
Das Album mit seinen neun Tracks trägt seinen Titel in Hommage an Bela Lugosis ikonische Zeile aus dem Film Dracula (1931): „Listen to them. Children of the night… what music they make.“

"Life Is Beautiful Again" is the debut album of Nadine El Roubi, a Sudanese-born, New York-based singer, rapper, songwriter, and multidisciplinary artist.
The album is the culmination of music created over the last three to four years. While the album can be categorized as primarily neo-soul, its true genre remains fluid — shaped by influences in hip-hop, neo-soul,and indie music.

Both melancholic and powerful, introspective and self-assured, Life Is Beautiful Again explores personal and external chaos, womanhood, belonging, and the determination to maintain faith through struggle. Thematically, it marks a shift from her previous work. Where earlier releases were overtly political, defiant, and outward-facing, this album turns inward. It is softer, more reflective, and rooted in the belief that vulnerability can be its own form of strength.

Written and recorded over three years across four cities, the album carries the imprint of many different versions of a Sudanese woman navigating change, loss, love, ambition, and growth, these songs became a way of making sense of the world.
At its core, the album’s message is simple: even through the ugliest of times, life will always become beautiful again.

I hope you will enjoy it as much as I do!

Jonah Ellis came to the Drifters as a guitarist but was soon singing with the group and acting as their musical director.

This multitalented musician/ songwriter hailed from DC where he was born on 25 August 1947 and grew up to graduate from Springarn, Senior High in Washington.

He went on to study further at Morris Town Junior College in Morris Town, Tennessee.

Then he received a BA degree in Music from Knoxville College in Knoxville, Tennessee, and a Master of Arts in Music from Michigan State University in East Lansing, Michigan.

His first move into recording came with his group Jonah and the Whales and ‘Savannah Sun’ which sold well locally by didn’t chart nationally.

Jonah’s second single ‘I Get Hot/ Popcorn Cellar’ on Viking Records in 1970 had similar results but he was writing great songs and creating a lot of interest. In addition to penning Yarbrough and Peoples big hit ‘Don’t Stop The Music’ in 1980 which hit platinum.

Jonah was writer/ producer at Total Experience Records where he found time to cut a single under his own name ‘Christmas Won’t Be Christmas Without My Baby’ and also wrote hits for the Gap Band the biggest hit being ‘Desire’. Jonah only stayed a Drifter for about a year between 1986-87.

A short time later he joined the Temptations as their lead guitarist but didn’t stop writing songs for other artists (sometimes in his pen name Lonnie Simmons) like Alicia Keys ‘Gangsta Lovin’, Puff Daddy ‘Soul Food’, Evelyn ‘Champagne’ King ‘Shame’, Billy Paul ‘Fire In Her Love’and so many more including Aretha and sister Carolyn Franklin, Esther Phillips, Rose Royce and Burt Bacharach.

Jonah continued to write and perform internationally until his untimely death from a stroke on 22 February 2010.

Special poster on 250gram paper. Postcard with photo taken by Sandrien. Hand-numbered sticker. Shrinwrap

After more than a decade without releasing new music, Amsterdam DJ and producer Sandrien returns with her debut album Compass, released on her own new label, inspi. Created during a stay in Spain, where she finally found the space to create freely again, the album marks a new chapter: no genres, no expectations, just music made purely on feeling. Compass is an album about finding your own path, personally and musically, a cycle of searching and finding, letting go and beginning again. Lead single 'Life' laid the foundation for it all. The visual world of the album is just as personal: photographs Sandrien took around her house formed the basis for its artwork and imagery. With 27 years of experience behind her, Compass proves that mastery doesn't lead to routine, but to exploration. This double LP includes a beautiful double-sided poster featuring two original artworks of ‘Compass’ by Dutch artist Pieter Jan Boterkoek. Releases October 9, 2026 Written and produced by Sandrien Mixed by Julien Chaptal Mastered by Giuseppe Tillieci at Enisslab Artwork by Studio Pieter Jan Boterhoek This album is made with love in Spain, Volkshotel Amsterdam and Groenekan.

“Simply put, it’s unlikely we’ll encounter a mix that leaves a cultural footprint and defines the sound of a generation quite like Northern Exposure again. Both mixes are absolutely 100% astoundingly brilliant”

DJ Mag

“Their best-loved mix CD is a trippy traipse through the verdant world of progressive house, a genre with one foot in the rave and the other somewhere in the great beyond” Rolling Stone - The 30 Greatest EDM

Albums Of All Time

Originally released on 27th September 1996, ‘Northern Exposure’ is widely regarded as one of the greatest mix compilations ever made. Thirty years on, it sounds as vital as ever - a testament to the fearless vision that went into its creation.

At a time when DJ culture was still writing its own rules, Sasha and John Digweed pushed against the grain. Drawing on sounds discovered during early trips to America - from Rabbit in the Moon to Future Sound of London - they built something that prioritised atmosphere over dancefloor convention. DJ Mag panned it on release. History changed their tune.

Northern Exposure Redux marks the 30th anniversary with a definitive reissue of both original mixes. The CD version also includes a newly created ambient mix. Shaped by the spirit of Bill Laswell and Mad Professor, it explores the deeper, more hypnotic DNA that always ran beneath the surface. Northern Exposure Redux North includes classic tracks by Keiichi Suzuki, The Future Sound Of London, and Banco de Gaia. Northern Exposure Redux South includes classic tracks by Dope On Plastic, Pete Lazonby, and a newly recreated version of ‘Dark And Long (Dark Train)’ by none other than Darren Emerson himself. Both vinyl versions also include a download code for both the North And South mixes, as well as the individual tracks.

Canonical then. Essential now.

Greta Van Fleet’s new album, Palace for the People, is available as an exclusive, limited edition first pressing Oracle Variant vinyl, with a smokey quartz marble finish. Includes booklet, double-sided insert, sleeves, gatefold.

Palace for the People is out October 9th, 2026.

Please note: due to the custom dyeing process, each vinyl is unique and will vary slightly in coloration.

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

5 year anniversary release of fever, available on vinyl for the first time!

Against The Current is officially back and louder than ever. Formed in 2011 when vocalist Chrissy Costanza, guitarist Dan Gow, and drummer Will Ferri were just 15, the band has evolved from a teenage dream into one of modern rock’s most exciting forces. As they celebrate their 15th anniversary in 2026, Against The Current is gearing up for a massive year: writing new music, planning a global tour, and preparing to unleash their most ambitious era yet. Following the breakout success of their 2021 EP Fever, the trio entered a bold new chapter as independent artists. Their 2024 singles “silent stranger,” “blindfolded,” and “good guy” marked this new era with unapologetic energy and authenticity, amassing over 40M streams worldwide. Fans have been eagerly awaiting what comes next, and the band is set to deliver their first full-length album since 2018’s Past Lives in 2026.

5 year anniversary release of fever, available on vinyl for the first time!

Against The Current is officially back and louder than ever. Formed in 2011 when vocalist Chrissy Costanza, guitarist Dan Gow, and drummer Will Ferri were just 15, the band has evolved from a teenage dream into one of modern rock’s most exciting forces. As they celebrate their 15th anniversary in 2026, Against The Current is gearing up for a massive year: writing new music, planning a global tour, and preparing to unleash their most ambitious era yet. Following the breakout success of their 2021 EP Fever, the trio entered a bold new chapter as independent artists. Their 2024 singles “silent stranger,” “blindfolded,” and “good guy” marked this new era with unapologetic energy and authenticity, amassing over 40M streams worldwide. Fans have been eagerly awaiting what comes next, and the band is set to deliver their first full-length album since 2018’s Past Lives in 2026.

OK, so the original pressing of the Heartstopper vinyl box set sold out in 2.5 hours.... Incredible!
We're making another version available. This is basically the same version, except it's NOT numbered. Also, this pressing will be released on October 9.

Heartstopper is the critically acclaimed Netflix coming-of-age romance that has captured the hearts of millions around the world. Based on the bestselling graphic novels and webcomic by Alice Oseman, the story follows Charlie Spring and Nick Nelson as they navigate friendship, love, identity, and growing up. Praised for its authentic representation and warmth, Heartstopper has become a cultural phenomenon, earning a devoted global fanbase and widespread critical acclaim. The series comprises three seasons, which aired between 2022 and 2024, followed by a feature-length film in 2026.

An essential part of the series’ emotional impact is its music. Across the series and film, Adiescar Chase’s music beautifully underscores the characters’ journeys, capturing the excitement of first love, the uncertainty of growing up, and the quiet intimacy of everyday moments. Her compositions have become an integral part of the Heartstopper experience, adding depth and atmosphere to the story’s most memorable scenes.

In collaboration with Netflix, Music On Vinyl proudly presents the complete Heartstopper soundtrack on vinyl for the very first time. This deluxe box set brings together the original scores from all three seasons of the series and feature film across four releases, pressed on stunning marble-coloured records in blue, pink, yellow, and orange, and housed in a beautifully crafted collector’s box. The set is complemented by an 8-page booklet featuring exclusive liner notes by Alice Oseman, four A4 art cards showcasing the original artwork from each release, and a Heartstopper diary for personal use, inspired by the series. Together, these carefully curated elements make this the definitive collector’s edition, celebrating the music and legacy of Heartstopper in a truly special format.

Der Weg zu ,Welcome to Earth" von den Death Valley Girls beginnt in der Asche des Eaton-Feuers in Kalifornien. Nachdem sie ihr Zuhause in Altadena und kurz darauf auch ihren geliebten Hund Tommy verloren hatte, sah sich die Leadsängerin und Songwriterin Bonnie Bloomgarden mit Fragen konfrontiert, auf die es keine einfachen Antworten gab: Was überlebt eine Katastrophe? Was bleibt nach einem Verlust übrig? Wie baut man ein Leben wieder auf, wenn die Dinge, die es einst ausmachten, verschwunden sind? Das Album, das aus diesen Fragen hervorging, gehört zu den intimsten und tiefgründigsten Werken, die die Death Valley Girls je geschaffen haben. Im gesamten Schaffen der Band haben sie Musik sowohl als Feier als auch als Suchaktion betrachtet. Alben wie ,Glow in the Dark", ,Darkness Rains", ,Under the Spell of Joy" und ,Islands in the Sky" verwandelten ihren Space-Rock-Sound in ein Mittel zur spirituellen Suche, um inmitten des alltäglichen Chaos Momente der Transzendenz zu finden. Doch ,Welcome to Earth" unterscheidet sich deutlich von seinen Vorgängern. Es konzentriert sich weniger darauf, der Welt zu entfliehen, als vielmehr darauf, zu verstehen, wie man nach einer Verwüstung verbunden bleibt. Was dabei entstand, war nicht unbedingt ein Psych-Punk-Album über Verlust, sondern über Verbundenheit: die unsichtbaren Fäden, die Menschen, Tiere, Erinnerungen, Landschaften und Leben über die Zeit hinweg miteinander verbinden. Der Titel des Albums fungiert sowohl als Begrüßung als auch als Mahnung - ein Willkommen aus der Natur an eine Spezies, die ihren Platz in ihr weitgehend vergessen hat. Immer wieder kehren die Lieder zu der Möglichkeit zurück, dass Trennung die hartnäckigste Illusion der Menschheit sein könnte. Diese Vorstellung von Verbundenheit reicht über die Lieder selbst hinaus

Bella Kay will release her first-ever full length on vinyl, My Reckless Abandon on 9th of October via Atlantic Records.

At just 20 years old, Bella has quickly established herself as an unmatched songwriter and one of the most emotionally resonant new voices in pop

The Texas-born singer-songwriter experienced a meteoric rise after her series of 3-Pack song releases and singles, but My Reckless Abandon lives as a complete 13-song journey to self-acceptance and introspection after a lot of messy and ‘reckless’ ups and downs.

The album was written and produced by Bella Kay and executive produced by Idarose (Becky G, Suki Waterhouse, Joji) and was recorded between New York and Los Angeles throughout 2026.

Two is the second album by British electronic group Utah Saints, and was released in 2000. It's the result of a eight-year layoff that was this close to retirement (in techno terms). In 1992, Utah Saints' self-titled debut was one of the year's most exciting dance releases. Jez Willis and Tim Garbutt's anthems boomed out with the exuberance of copyright liberation, but their unreleased second album was permanently bricked up by record label ffrr for copyright violation.

But in 2000 they finally got to release this beauty! Two features guest apparances by Michael Stipe (R.E.M.), Chuck D (Public Enemy) and Edwin Starr. On Two, you can hear samples ranging from Metallica, Average White Band, The Pretenders, The Stooges and Joyce Sims, so you can only imagine which samples were used on that unreleased album!

Two is available as a limited numbered edition of 1000 copies on clear/turquoise marble vinyl, and is packaged in a gatefold sleeve.

Ten years ago, Horse Jumper of Love released their self-titled debut, one that not only launched their career but also inspired a generation of shoegaze artists to come.


Recorded in a mill space studio by future longtime collaborator Bradford Krieger and first released in 2016 (before a re-issue by Run For Cover in 2017), Horse Jumper of Love introduced listeners to the band’s unique strain of expertly crafted minimalism and haunting lyricism. Tracks like “Orange Peeler” and “Ugly Brunette” capture a gritty melancholy and existentialism that is both youthful and timeless, angst-ridden and sincere. Now, a decade later, Horse Jumper of Love remains a beloved cult classic and a touchstone of the band’s continually developing brand of glacial, grungy indie rock.
This 10 Year Anniversary Deluxe Edition LP features new tri-fold packaging with collaged ephemera from singer and songwriter Dimitri Giannopoulos’ years in Boston while writing the record, a 20-page sewn-in booklet featuring never before seen photos and drawings, and handwritten tablature for the record’s original 9 songs. Disc one includes the original album fully re-mastered, and the brand new second disc features 13 bonus tracks recorded between the years of 2013-2015, mostly by Dimitri at home on a Tascam Portastudio, including single “Heathers (2013)” which was an early version of what would later become “i love you very much forever” and other never before heard demos, b-sides, and alternate versions of the original songs.
The record will also be released for the first time on CD, packaged in a 2-disc swing tray jewel case with a fold out poster.

2026 Repress

Hailing from the ancient Russian city of Tambov, on the banks of the Tsna River, the youngest member of the Trip family Vladimir Dubyshkin emerges for a potent debut solo EP. cheerful pessimist is an engaging package of highly anticipated deep, swirling techno tracks that many will recognise from label head Nina Kraviz's DJ sets. Diving straight into the core of a peak time set, Vladimir unleashes five formidable doses of unrestrained energy. Swollen sub bass and thumping percussion forge an unmistakable sense of physicality, whilst spiralling, a melodic leads run circles around the listener. Cheerful pessimist wastes no time warming up, plunging head first into the belly of the beast. A thrilling debut and an essential release for lovers of vibrant techno.

Axis Expressionist Series

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works. Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listeners, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life. Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life".Soundtracks for people in their evolutionary process.

This release 'Drifter' is about 'Hype'.



Hype

An animal that prowls on the vulnerable - it excites those who might be looking the other way or with their eyes and minds wide shut.

What is life without hype?

As a transitional tool, hype can be most effective especially when impulse reactions are at play. Something of a psychological currency, there is a lot to gain by giving people what they want - the rush that comes with taking part in a process of making something bigger, more successful and more preferred. Even if there is nothing there.

What's wrong with getting exciting about something?

There are only a few rare masterclass cases that have lasted a lifetime.

As Andy Warhol proclaimed that "everyone will be World famous for 15 minutes" rings darkly true in an era when each one of us can be the talent scout, artist, critic, audience.......and then a revisionist, hoping to bring hype back again by reminding people how great the first round felt.

We are all free to use our attention and time anyway we please. This is the freedom we have, right?

In most cases, we wake up and at some point, the question of justification becomes a debate between those who found unconditional solace and those who re-discovered the subject of substance and "kicked the tires".

Should I care if others like or dislike something?

For some, the hype of something never ends. It hardens and becomes part of a foundation like a cement podium. Something to be stood on to speak over all dissenting voices.

The Chronicles of Narnia: The Voyage of the Dawn Treader is a 2010 fantasy-adventure film based on The Voyage of the Dawn Treader (1952), the third novel in C. S. Lewis’ fantasy series The Chronicles of Narnia. It is also the third and final installment in the original Chronicles of Narnia film series. Set three years after the events of Prince Caspian, the film follows the two youngest Pevensie children, Edmund and Lucy, as they return to Narnia to join the new king Caspian in his quest to rescue seven lost lords and to save Narnia from a corrupting evil that resides on a dark island.

Composer David Arnold scored the film, with themes composed by Harry Gregson-Williams (who scored the first two films). It was Arnold’s fourth collaboration with director Michael Apted. He created specific themes for the characters The Dawn Treader and Reepicheep, and used themes from the previous films for the opening and closing scenes as well as recurring characters, to ensure that the film is consistent with the franchise. The score was performed by an 87-piece orchestra and a 40-piece choir, resulting in an epic soundtrack with just the right magical touch to compliment this film.

A space is often described by its dimensions. The height of the ceiling, the expanse between walls. Division into functional elements of varying density follows. We have ideas of how such dimensions should be balanced to work well for sound — the classical concert hall, a Northward mastering room.

It’s tempting to try and use this idea of space to understand Space the group (Lisa Ullén, Elsa Bergman, Anna Lund). To calculate their cartesian co-ordinates: dynamics that run from whisper soft to punishing, shaking force; Ullén’s piano running the full expanse of the frequency spectrum; the mix of sudden, surprising and suggested variations in density (the space) that generates their musical structures.

But (a) space is a social phenomenon where meaning is accumulated and possibilities created by and through a constantly shifting set of social relations and their histories and entanglement inside and beyond the physical structures of a room or building. Reduced to its raw dimensions, Cafe OTO shouldn’t sound good: the low ceiling, the hollow void underneath the stage-not-stage, the hard glass windows out onto the street. But OTO as a social space — for gathering close to listen; the serious pursuit of a convivial good time (its productive mythology that an OTO audience is both up for it but also expects more); and then the idea of all that has happened before and what will come; that this is also part of ‘the music’ and changes what sounds to the point that none of those cartesian co-ordinates matter.**

It’s less of shock that Space sound good. Lisa Ullén is easily the most singular pianist in Sweden right now and Elsa and Anna’s ability to reroute in realtime reaffirms just how well they function as a group. The trio might have got their shit together holding down the rhythm section for the first incarnation of Anna Högberg Attack — but much like Högberg’s ongoing pursuit of artistic renewal, the trio avoid being shackled to any ideas about what a piano trio should be and there is something that happens (happened) in that room, on that night, with those people that made for something beyond just good.

It’s a gift that the sound of every concert at OTO gets recorded. A choice handful of these transcend their decoupling from that social space and radiate the room’s attendant energies. This record is one of them.

** See Jack Halberstam in Fred Moten & Stefano Harney, The Undercommons (2013): “…we must refuse the idea that music happens only when the musician enters and picks up an instrument; music is also the anticipation of the performance and the noises of appreciation it generates and the speaking that happens through and around it, making it and loving it, being in it while listening."

It took a long time – ten years – for his talismanic song, ‘Ça ira tu verras’, to prove his prophecies right, at a time when, everywhere else in the world, nothing seems to be going right. And if everything is going well for Séverin, it’s because he’s managed to build himself a bulwark, an impregnable citadel, and his records now exude a whiff of simplified idealism, with the influence of Souchon and Voulzy never far from his pen and guitar as he brings his bittersweet moods to life in verses and choruses.


But above all, he knows how to invent new settings for himself, push back the boundaries, step beyond the walls of his Parisian studio to go and see how things sound elsewhere. Recorded at Chale Abbey Studios on the Isle of Wight (UK), Séverin once again wanted to let the collective spirit of his regular collaborators take centre stage. Ambroise ‘Sage’ Willaume and Jérémie Arcache, who featured on the previous album *Nouveaux Dinosaures*, once again form the backbone of the band, on guitar and keyboards respectively. Bassist Théodora Delillez (Astral Bakers) and Canadian drummer Robbie Kuster complete the band’s core line-up, which, in just six days at this electric priory, went on to achieve – judge for yourselves – nothing short of miracles.


Whilst all around us the war on falsehood rages – from AI to post-truth, all these fake debates, hypocrites and false values – here is an album that doesn’t cut corners when it comes to emotions, nor in the way it sets them to music.

Anyone who has had the sheer pleasure of seeing and hearing Leroy Burgess perform in concert will know just how amazing the live renditions of his iconic compositions of Disco Boogie hits and classics sound with a full band and a fully fueled audience. Accompanied by the ten piece French band and long time Leroy Burgess collaborative outfit Saving Coco, BBE Music is releasing live versions of two of those classics Let’s Do It and Big Time. Recorded and released by Rick James in 1980 Big Time is an absolute killer of a track that sounds so fresh decades later in this crowd energising performance. Famously released by Convertion Let’s Do It was a huge club hit in the early 1980s and is the perfect track to accompany Big Time on this release. Leroy Burgess is a certifiably genuine legend of Black music; his compositions have moved dancefloors across the world since the early 1970s as a member of Black Ivory, then Convertion, Paradise Garage favourites LOGG, Kleer and electro outfit Aleem. His collaborations with Patrick Adams, Inner Life, Dazzle and solo artists such as Eddie Kendricks, Rick James and Fonda Rae have cemented Leroy Burgess’ place in the annals of Black Music History. As a founder-member of the Universal Robot Band he co-wrote the massive perennial favourite Barely Breaking Even. Leroy Burgess feat. Saving Coco-Big Time/Let’s Do It is released as a 12″ vinyl and digital download and definitely belongs in the ‘make sure you get this’ category. Mixed by Marc Mac and mastered at the Grammy-nominated Carvery Studio by Frank Merritt. Available as 12″ vinyl and digital download. Release date September 25th, 2026

It’s not just since James Bond and the introduction of World Overshoot Day that we’ve known: The world isn’t enough. We need an Extrawelt! Arne Schaffhausen and Wayan Raabe have been tinkering with this celestial body for over two decades, and it seems to be slowly nearing completion. You certainly can’t accuse Extrawelt of lacking ideas. They are, so to speak, the legitimate descendants of the legendary planet designer Slartibartfast from Douglas Adams’ “The Hitchhiker’s Guide to the Galaxy”. No doubt, the downright insanely creative bossa nova-techno bastard “Honey Hunter” will be mentioned in the same breath as Slartibartfast’s award-winning Norwegian coastlines by future civilizations. The other three tracks aren’t half bad either. Take our word for it.
Nicht erst seit James Bond und der Einführung des world overshoot days wissen wir: Die Welt ist nicht genug. Wir brauchen eine Extrawelt! Die Herren Arne Schaffhausen und Wayan Raabe werkeln seit über zwei Jahrzehnten an diesem Himmelskörper und er scheint so langsam bezugsfertig zu sein. Man kann Extrawelt nun wahrlich keine Ideenarmut vorwerfen. Sie sind quasi die legitimen Nachkommen des legendären Planetendesigners Slartibartfast aus Douglas Adam’s “Per Anhalter durch die Galaxis”. Der geradezu irrwitzig kreative Bossanovatechno-Bastard “Honey Hunter” wird von künftigen Zivilisationen in einem Atemzug mit Slartibartfast’s preisgekönten norwegischen Küstenlinien genannt werden. Auch die anderen drei Tracks sind nicht von schlechten Eltern. Glaubt’s und werdet selig.
Downloads

Adam Ten and Yamagucci team up on Rekids with ‘Keep Workin’’. Label head Radio Slave steps up with a remix.

Frequent collaborators Adam Ten & Yamagucci drop 'Keep Workin’' on Rekids, with a remix from label boss Radio Slave. The single is an irresistible club tool with immeasurable bass weight. Bold, rubbery drums and grinding low-end combine in bouncy fashion while a vocal fragment loops up top to create perfect dance floor tension. Brighter chords eventually rise through the mix, providing emotional release that will get hands in the air and take things to the next level.

On the remix, Radio Slave strips the original ‘Keep Workin’’ back to dusty, shuffling drums with jazzy flourishes. The track has a live, lived-in feel, complete with vulnerable piano keys that haunt the spaces above its weighty groove and transfix any crowd with eerie beauty.

Adam Ten is a long-time House innovator, Maccabi House co-founder and Upon You Records and Higher Ground artist, with over twenty Top 10 Beatport releases and millions of streams to his name. He blends the grit of Techno with escapist melodies in versatile, curious sets and productions that have earned him bookings worldwide. Yamagucci has made an equal impact on the world stage through his field recordings and organic percussion, adding a unique twist to his tracks on labels like Disco Halal, as well as Diynamic and Crosstown Rebels, labels that Adam Ten and Yamagucci have also collaborated on together.

Monolink and CIOZ bring a stripped-back electronic edge to Crosstown Rebels with ‘Don’t Talk To Me’. The German multi-instrumentalist makes his Crosstown Rebels debut alongside Italy’s CIOZ, with OMRI. also returning to the label on remix duties. There are few artists in electronic music quite like Monolink. Moving naturally between singer-songwriter, producer and live performer, his music gives as much weight to voice, melody and narrative as it does to electronic production. For ‘Don’t Talk To Me’, he joins Bergamo-born, Berlin-based CIOZ, whose own work is driven by rich musicality and a willingness to move beyond convention. The link-up makes for an intriguing signing to Damian Lazarus’ Crosstown Rebels, bringing together two different approaches to electronic music without either losing their identity.

‘Don’t Talk To Me’ is deliberately pared back, pairing Monolink’s voice and songwriting with sparse textures and gently shifting melodies. Rather than building towards a conventional dancefloor payoff, the track unfolds with a quieter sense of tension, sitting somewhere between alternative songwriting and electronic voyage. An artist whose productions and remixes have quickly made him a recurring presence in the Crosstown Rebels universe, OMRI. takes the track deeper with his remix, adding darker, hypnotic qualities while preserving the original’s restraint. ‘Wasting Time’ closes the release with another sweeping collaboration, built around subtle melodic details and captivating synth flourishes.

The collaboration marks Monolink’s first outing on Crosstown, adding to an impressive career that has seen him craft his distinctive sound via Berlin-based imprint Embassy One and on labels like Cercle Records. Performances have taken that music from Burning Man and Montreux Jazz Festival to Day Zero Bali, where he joined Damian Lazarus for its first edition, as well as sets alongside Lazarus at Club Space, Zamna and more around the world. Meanwhile, CIOZ brings his own expansive approach back to the label, with material also landing via Monaberry, Frau Blau and Stil vor Talent, plus remixes for Diplo, Oliver Koletzki, Patrice Bäumel and the Crosstown head honcho. With both artists comfortable moving between emotional depth and dancefloor function, ‘Don’t Talk To Me’ gives that shared instinct plenty of room to breathe.

South Asian super-producers Lapgan and Baalti – the former a Madlib-disciple spinning hip-hop grooves out of dusty desi samples, the latter duo purveyors of intricately tapestried dance music – holed up in the California desert in early 2024 for a songwriting session to blend their complimentary styles. They ended up with several albums worth of club material built upon decades of Indian music history – floor fillers that move like early Four Tet meets The Avalanches. They’ve been teasing this material around the world during live sets – from Paris Fashion Week to Glastonbury, London Clubs to BK Warehouse parties, sessions at Lot Radio and Karachi Community Radio, and anywhere else they find an aux. The result has been endless ID requests for unreleased gems like “Ipa Ma” and “Lime Tikka”, calls which should finally be answered with the release of Threads.

Lapgan Bio
Chicago-based archivist and producer Lapgan has become renowned for his signature style: unearthing rare and forgotten Indian & Pakistani sounds and recontextualizing them into hip-hop and dance beats that evoke J Dilla and Madlib. He has cultivated a reputation for quietly revolutionary sample-work across his beloved solo projects History and Duniya Kya Hai, as well as LAFANDAR, his critically acclaimed team up with Heems (of Das Racist / Swet Shop Boys). He has worked with a range of artists from both the West (Your Old Droog, Saul Williams, Cool Calm Pete, Kool Keith, Open Mike Eagle, Blue, Quelle Chris) and the East (EXCISE DEPT, Baalti, Sid Sriram, Sid Vashi, Dynoman), and has been featured in global media including Pitchfork, FADER, Stereogum, Passion of the Weiss, Mixmag, Homegrown, and Vinyl Me, Please. Over the past year he has headlined clubs and performed at festivals across the world from Chicago and New York to London and India, and was personally invited to soundtrack back to back Paris Fashion Week shows for the similarly norm-shifting designer Kartik Research. In 2026 he will soundtrack his third Kartik Research runway show, as well as reissue Duniya Kya Hai for its five-year anniversary alongside a companion EP featuring remixes from peers and supporters Arushi Jain, Loris, Mera Bhai, Malkfunktion, and Maral.

Baalti Bio
Baalti makes electronic music built around rhythm, pressure, and collective release – weaving through leftfield bass, dusty hip hop, tripped out dub and raw house all while maintaining a throughline rooted in South Asian culture seen through the lens of a sweaty dancefloor. In the last year they have experienced a whirlwind rise and growing global recognition: from their EP Mela vividly evoking West Bengal’s sound system culture to their Tamil-cinema-infused filter-house project with Anish Kumar Stunt Doubles, in addition to wide-ranging collabs and remixes alongside DJ ADHD, Naya Beat, and A.R. RahmanThey have also built a reputation for their frenetic live show, with appearances at international festivals like Glastonbury and MELT, headlining shows across Australia and Europe and supporting influences turned peers like Four Tet and Disclosure across North America. Their explosive, percussion-heavy sets have been platformed by Rinse FM, NTS, The Lot Radio, Beats In Space, and Refuge Worldwide, and their music has been renowned by publications including Pitchfork, Bandcamp Daily, RA, and MixMag. Their forward momentum continues into 2026 with slated headline tours in India, Australia, and Asia along with appearances at Coachella, Party in the Paddock, Fvded in the Park, and We Out Here festivals.

In The Dark Again continues to stand for timeless electronic music at its finest. Release No. 14 is yet another testament to that.

The journey begins with the stunning anthem «Tomb of Ligeia» by Scottish artist Sebastian Swarm.

Next up is synth master Heinrich Dressel, delivering the beautifully melancholic and effortlessly cool «Elka Snow Cat.»

Electro hero Konerytmi rounds off Side A with a deep and bleepy cut.

The flip side opens with the massive, brooding «Ruined Horizons» by Be Dellow, a project by Violet Poison, whom the label fans will also know as Bakunin Commando.

Another familiar face brings the record to a close: Igors Vorobjovs, whose unmistakable sci-fi electro never fails to captivate.

Acclaimed, Swedish composer, producer and live artist Sebastian Mullaert, and Georgian electronic artist Tamarma (Tamara Davitashvili), are set to release the deeply personal and genre-fluid album ‘Holds the Sky’ on the 25th September via Awesome Soundwave, the label curated by Christopher Coe and Carl Cox.

Spanning ambient, experimental and alternative electronic forms, alongside a set of dancefloor-oriented reworks that expand the project’s sonic spectrum, at its core, the album is the result of an unusual artistic convergence that traces back to 2020. Tamarma entered Mullaert’s successful In Bloom mentorship programme on a scholarship, and over a year-long deep exploration of album creation, her work revealed a rare clarity and emotional depth.

One piece in particular became the catalyst. Developed further through Mullaert’s 4 step studio process, it unfolded into a full length album collaboration. What began as a single composition has since grown into an album that documents an organic and intuitive exchange between two distinct artistic voices.

The result is less a collection of tracks than a continuous unfolding; a dialogue shaped by trust, listening and shared curiosity. Rather than aiming for a fixed genre position, the album operates as a living process: a meeting point between tradition and experimentation, between voice and synthesis, between two artists allowing something larger to emerge through their collaboration.

With compositions such as the chiming ‘Being Colours’ and hypnotic ‘Holds The Sky,’ Mullaert and Tamarma have created a body of work that resists easy categorization. The album moves through intimate, meditative passages and more rhythmically driven moments, always anchored in a sense of presence and emotional immediacy. The flickering beats of ‘Winnow’ and ambient manifestations of ‘Lost In Dimension’ and ‘Field of Us’ add a sense of tranquillity, stillness and convergence.

Tamarma’s voice carries both a personal and cultural depth throughout the album, while remaining fluid and responsive to the moment. The result is a sound that feels both intimate and spatial, where voice, texture and atmosphere are closely connected. Her Georgian musical heritage combined with Mullaert’s open-ended electronic exploration, allows something beautiful to emerge, shaped by listening, space and a sense of something larger than either artist alone.

Widely celebrated in the electronic music community, Mullaert has spent the last three decades moving beyond the boundaries of electronic music, from shaping the sound of cult duo Minilogue to creating the fully improvised global platform, Circle of Live, which has seen him perform and collaborate with artists such as Mathew Jonson, Âme, Amp Fiddler, Aurora Halal, Speedy J, Sam Barker, Dorisburg, Move D, Sleep D, Kuniyuki, Pantha du Prince, Leafar Legov, Wayne Snow, Laurence Guy, VRIL, Neel and Erika.

Initially making a name for himself in the world of techno, his performances have moved fluidly between environments, from underground spaces including Berghain’s Panorama Bar to festivals around the world, and venues including the Barbican, London, where he has appeared alongside artists including Joep Beving, Laura Misch and JakoJako. Platforms such as ARTE have featured his performances, placing his work within a broader European cultural context, while support from Resident Advisor and Boiler Room reflect his continued presence within the core of electronic music culture. He has received a Swedish Grammy and the P3 Guld award from Swedish National Radio.

His 2020 album ‘Natthall,’ developed in collaboration with Tonhalle Orchestra Zürich and performed with Subchamber Ensemble, saw Mullaert enter the world of contemporary composition, and merged electronics with chamber music and improvisation. The album was later named among the top post classical releases of the year by BBC Music Magazine.

A new documentary film by Ableton, set for release this summer, captures Mullaert’s Circle of Live project through a performance at Brighton Dome in the UK, featuring Mullaert and electronic artists Clark and Rival Consoles. The film offers a rare insight into the inner workings of collective improvisation at a high artistic level, further cementing Mullaert’s role as a leading voice in contemporary live electronic practice.

Tamara's background is rooted in the landscapes and traditions of Georgia. Raised near the Caucasus Mountains, classically trained in piano and shaped by years as a jazz vocalist, her work carries traces of Georgian polyphonic singing and a strong connection to nature and place. Her transition into electronic music is not stylistic but transformational; a recontextualisation of heritage into new sonic forms.

‘Holds The Sky’ will be available on vinyl and digitally on the 25th September via Awesome Soundwave. The digital release includes three exclusive album track reworks from Mullaert.

Athens-based multi-instrumentalist, songwriter and producer Raphael Meleteas presents "Someone Else", the title track and first single from his forthcoming debut album of the same name.

Written, arranged, performed, recorded and mixed entirely by Meleteas, the recording reflects an organic approach to songwriting, where warm analogue textures, cinematic arrangements and carefully layered instrumentation take precedence over studio polish. Every instrument heard on the track is performed by Meleteas himself.

Drawing from the rich tradition of orchestral pop, cinematic music and library recordings of the late 1960s and 1970s, Someone Else balances intimate songwriting with understated orchestration, creating a sound that feels timeless while remaining unmistakably personal.

Recorded in Athens, Greece, the single introduces the atmosphere that defines the forthcoming album: melodic, reflective and rich in subtle detail, unfolding naturally through live performance rather than digital construction.

"Someone Else" offers the first glimpse of Raphael Meleteas' debut album, also titled Someone Else, which will be released by Veego Records in September 2026.

"Amour" ist ein bedeutender künstlerischer Meilenstein für die Geigerin und Social-Media-Sensation Esther Abrami. Erstmals stellt sie auf einem Album eine groß angelegte Originalkomposition ins Zentrum. Ihre neun Sätze umfassende Suite für Violine und Orchester ist eine ausdrucksstarke Auseinandersetzung mit der Liebe in all ihren Facetten und fängt das gesamte Spektrum der Emotionen ein - von Zärtlichkeit und Leidenschaft bis hin zu Sehnsucht und Verlust. Über die Suite hinaus versammelt "Amour" eine vielfältige Auswahl ikonischer klassischer Werke rund um das Thema Liebe, die von Esther Abrami neu für Solo-Violine und Orchester arrangiert wurden. Ein besonderes Highlight ist Nino Rotas "Romeo and Juliet: Love Theme", mit der gefeierten Mezzosopranistin Marina Viotti. Ihre Stimme tritt dabei in einen musikalischen Dialog mit Esther Abramis Violine. Das Programm umfasst weiterhin Instrumentalarrangements von Céline Dions "All by Myself" sowie Georges Bizets "Habanera" aus "Carmen", wie auch neue Versionen für Violine und Orchester von Francis Poulencs "Les chemins de l'amour", Christoph Willibald Glucks "Tanz der seligen Geister" aus "Orfeo ed Euridice" und der virtuosen "Chaconne in g-Moll" von Tomaso Antonio Vitali. Auch eine neu arrangierte Version von Charlie Chaplins "Désillusion amoureuse" aus seinem Film "The Circus" ist auf dem Album enthalten. Im Laufe ihrer Karriere hat sich Esther Abrami einen Namen damit gemacht, klassische Musik einem breiten und vielfältigen Publikum vorzustellen. Mit "Amour" verbindet sie erstmals ihre unverwechselbare Stimme als Interpretin mit ihrem Schaffen als Komponistin. Das Album erscheint als CD sowie als Doppel-LP in einer limitierten Ecorecord InkPlosion Version, bei der jede LP individuell gestaltet ist. Die Doppel-LP enthält außerdem 3 Bonus-Tracks, die bisher nur digital erschienen sind.

After our last release with Dub Keyboarder Ao Inoue from Dry&Heavy Tokio/Japan we now are super proud to announce;
Our next Ep coming up in November is done by TURMSPRINGER + 2 heavy weights Producers. QUENUM labelhead of Cadenza delivered an superb minimal 80´s sounding remix and we could convince no further then Neil Fraser aka MAD PROFESSOR to join the Mole Audio Project He´s done a few “versions” on his old smokey dusty console which will come out within the next few month , Keep your ears open for this !

Tiger Stripes unveils part one of ‘A Tiger Never Loses Its Stripes’ on Rekids. The series will culminate in the Swedish artist’s sophomore album later this year.

Sweden’s Tiger Stripes, aka Mikael Nordgren, drops the first part of the ‘A Tiger Never Loses Its Stripes’ EP series on Rekids. The EP previews his upcoming sophomore album, his first in two decades, due out later this year, and follows three recent releases and a remix for Dino Lenny on Matt Edwards’ Rekids label.

Tiger Stripes kicks off the ‘A Tiger Never Loses Its Stripes’ EP with ‘Slow’, a snappy groove driven by weighty bass and vocals that are as playful as they are drenched in soul. ‘Twelve’ picks up the pace with irresistible low-end and funky, jazz-inflected key riffs, before ‘Stay Hypnotic’ takes things somewhere more dream-like, pairing shimmering synth sequences with glitched-out percussion and fragmented vocal snippets on the flip. ‘Shape The Future’ closes the first instalment with a squelchy bassline, slightly off-key strings and gorgeous dubbed-out chord progressions, bringing a classy, club-ready finish to this preview of Tiger Stripes’ next album.

Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Kaoz Theory, Kwench Records, and more. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite, returning three times to Rekids since.

Der deutsch-amerikanische Violinist David Garrett veröffentlicht mit Immortal sein neues Album. Ein
zutiefst persönliches Projekt und zugleich eine Hommage an einige der bedeutendsten Komponisten der
Musikgeschichte wie W. A. Mozart, Claude Debussy und John Williams. Alle Stücke wurden von David neu arrangiert und spiegeln sein tiefes musikalisches Verständnis, sowie
seinen Anspruch an Authentizität wider. „Ich bin stolz darauf, sagen zu können, dass dieses Projekt zu
100 % handgemacht ist“, sagt er. „Ich hoffe, dass die Hörerinnen und Hörer nicht nur den Klang genießen,
sondern auch die menschliche Präsenz in der Musik spüren.“

Tip-on Cover, Special Varnish

Available in the following Territories: Wordwide minus Japan & Korea

NOTON is pleased to announce12 Conversations, a collaborative album by Ryuichi Sakamoto and Alva Noto to be released on 18 September 2026.

The partnership between the legendary musician and composer Ryuichi Sakamoto and the German artist Carsten Nicolai (aka Alva Noto) has produced some of the most distinctive and enduring works in contemporary electroacoustic music. Beginning with Vrioon in 2002, the artists spent more than two decades fusing and expanding their disciplines, with Sakamoto's evocative, sustain-drenched piano compositions finding their counterpart in Nicolai's skilful and sensitive electronic detailing.
Each successive project further deepened their artistic dialogue: from the five studio albums of the V.I.R.U.S. series (Vrioon, Insen, Revep, Utp_ with Ensemble Modern, and Summvs), to their score for Alejandro G. Iñárritu's The Revenant; Glass (2017), a wholly improvised performance inside Philip Johnson's iconic Connecticut landmark, in which the pair fixed contact microphones to the glass walls, playing the architecture itself as an instrument; and Two (2019), a document of their live performance at the Sydney Opera House.

Across these works, their distinct approaches achieved a rare synthesis, a brilliantly sustained dialogue between piano and electronics, Sakamoto's warmth and melodic finesse meeting Nicolai's abstract electronic formalism to invoke a mesmeric quietude as deeply satisfying in its melodic resolutions as in the merger of its filmic romanticism and meditative subtlety.
12 Conversations brings together musical exchanges recorded in November and December 2022. Rooted in the same creative period that gave rise to Sakamoto's final solo album 12, these recordings were not originally intended as a standalone release. It was only after the completion of 12 that Sakamoto and Nicolai decided to present these exchanges as a work in their own right.
The album reflects the vitality and curiosity that defined more than two decades of shared inspiration: fluid, exploratory, and forward-looking. Created with openness and trust, it captures a creative process in constant transformation - sounds expanding, altering, and evolving through attentive listening.

Conceived as the continuation of an artistic dialogue extending beyond the physical, 12 Conversations honours Sakamoto's wish that these encounters should exist beyond the archive, offering an enduring testament to one of contemporary music's most revered collaborations.


Carsten Nicolai writes:
"A heavy breath can be heard in the recordings. Yet this work is not about remembrance but continuation, vitality, curiosity, and the spirit of experimentation that shaped an artistic relationship over decades.
The twelve pieces we exchanged in November and December 2022 possess extraordinary density: sounds expanded, altered, recontextualized. Initially, every intervention felt almost inappropriate. Yet this was part of our openness and trust: adding, shifting and radically yet softly transforming.
Even in these final exchanges, plans for future projects continued to take shape, mindful of finite yet firmly believing in the power of new ideas. We chose the name Conversations, which has become a space of memory and vision, where past, present and future intertwine.
For a long time, releasing this music seemed impossible. The loss felt too sudden, and the emotional connection too profound. As time passed, it became clear that these twelve musical encounters should have life outside the archive. To honor Ryuichi's wish, these pieces are now being released as the continuation of a dialogue that extends beyond the physical."

The first single, Conversation 3, will be released on Tuesday, July 14, 2026. The second single, Conversation 6, will be be released on Wednesday, August 26, 2026.
12 Conversations will be available worldwide on vinyl, CD and digitally. A Japanese edition will be available on Ryuichi Sakamoto's commons.

For any collaborative project to succeed, the artists involved need a creative unifier – a meeting point, if you will, of their disparate interests and experiences. In the case of Mondo Love & Betrayal, the joint project of Nottingham musical mainstays Neil ‘Nail’ Tolliday and Henry Claude Scott, there were two creative unifiers: a mutual love of classic 1980s synth-pop, as well as shared admiration for each other’s work.

Even so, such shared interests and respect for prior mutual endeavours is no guarantee of success. Yet as their eponymous debut album emphatically proves, the duo’s disparate experiences, characteristics and musical strengths have not only dovetailed beautifully, but also resulted in serious sonic gold. Put simply, Mondo Love & Betrayal is a stunning debut album rich in emotive songs, colourful melodies, atmospheric chord progressions and infectious grooves. Throw in the sun-splashed warmth and saucer-eyed, loved-up tactility of late 80s dance beats, and you have a breakthrough album whose timelessness is evident from start to finish.

The project’s roots lie in Tolliday’s desire to work with Scott, a virtuoso guitarist, talented producer and secret songwriter best-known for his work alongside Huw Costin as Torn Sail, and John ‘Ming’ Thompson as Brown Fang – both projects known for prioritising organic instrumentation and sunset-ready soundscapes over dancefloor-rooted beats.

Tolliday, of course, is one of British electronic music’s true polymaths – a long-serving house producer best-known for his long-running Bent project alongside fellow Nottingham resident Simon Mills. He initially approached Scott with the idea of providing vocals on a house track he was working on, but quickly suggested something else: an exploration of a classic synth-pop sound inspired by his love of Pet Shop Boys, New Order, Depeche Mode and the producers who worked with them – the likes of Martin Hannett, Arthur Baker, Stephen Hague and John Robie.

Scott accepted the invitation, seeing it as an opportunity to explore a different side of his musical personality. Their first recording session resulted in the ear-catching and memorable brilliance of ‘Correspondence’ – a tongue-in-cheek breakup song inspired by the death of landlines and the rise of mobile communications – and soon they were working on their debut album.

The resultant 10-track set is simply sublime, with Scott’s expressive delivery of his own lyrics on life, love, heartache and rejection working in perfect union with Tolliday’s kaleidoscopic and pleasingly authentic backing tracks – gorgeous and beautifully rendered instrumentals rich in memorable melodies, bittersweet chords, and subtle nods to ‘80s and early ‘90s dance-pop culture, from Shep Pettibone style remixes and Bernard Sumner guitar licks, to Beloved-esque piano parts and Chris Lowe chord progressions. Some listeners may also draw favourable comparisons with 21st century synth-pop practitioners, particularly Parcels, Private Agenda and the deeply emotive songs showcased by Junior Boys.

For proof, wrap your ears around such album highlights as opener ‘Boo Boo’, where Scott warns that “love and betrayal will haunt you” atop sparkling synths and Vince Clarke style grooves, the Behaviour-era PSB melancholy of recent single ‘Your Latest’, the mid-tempo dreaminess of ‘Beyond The Rainy City’, the early Depeche Mode chug of ‘Whatever Happened To Me’ and the tactile warmth of ‘Across The Plane’.

We could go on. In truth, the whole album is – in Scott’s words – “magical musical alchemy”. Wherever they choose to go next, Mondo Love & Betrayal is a seriously good sonic statement of intent.