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2023 Repress

London's 4am Kru & Bristol grime royalty Sir Hiss unite on EARSHOTS - a forward facing jungle banger with Sir Hiss on sample duties and 4am Kru at the production helm. Already an underground anthem following it's digital release in 2022, EARSHOTS receives it's first vinyl pressing here, courtesy of No More Mailouts & Embrace The Real Records. Do not miss!

Claus Voigtmann has built his reputation away from excess, favouring precision, patience, and a deep understanding of the dancefloor over trend-led movements. Emerging from a punk background, his approach to music carries that same raw intent, translated into rolling, groove-led sets that blend movement with a stripped-back sense of pressure and release. As co-founder of the influential Toi.Toi.Musik party series, he helped shape one of London’s most respected underground movements, while later channelling his focus into his label Subsequent - a platform for more exploratory, long-form expression that has found its way into the crates of DJs including Zip, Ricardo Villalobos, and Sonja Moonear.

Having already landed on Enzo Siragusa’s FUSE imprint in 2023, remixing the label boss’s ‘Laughing Tones’, and after featuring heavily across the brand’s global events for years, his ‘Elevate’ EP distils his ethos into four direct, function-led cuts. Built with clarity and intent, the record reflects his commitment to music that works in the room first and foremost, resulting in a collection of tracks shaped by experience rather than excess, and where every element serves a clear purpose.

‘Bass Tool’ brings low-end pressure and tightly wound percussion, setting the tone from the off , while ‘Loading Complete’ leans into a more cosmic roll, layering shifting textures over a forward-driving framework. On the B-side, ‘Sidequest West’ keeps the focus in the sub-bass realms while still maintaining focus on groove and flow, before the title cut closes the release by opening things out, balancing weight and space in a way that reframes the EP’s direction and journeys into the late hours.

On his new album, Micha Acher rearranged compositions for bands such as Tied & Tickled Trio and Ms. John Soda from previous years.

Why are we interested in ghosts? What fascinates us about the eerie? According to cultural theorist Mark Fisher, the allure that the eerie possesses is not captured by the idea that we „enjoy what scares us“. It has, rather, to do with a fascination for the outside. For that which lies beyond standard perception, cognition or experience, as he writes in his book „The Weird and the Eerie“.

In fact, also none of the 15 pieces from Henry and the Ghost is really scary. On the contrary, they all feel strangely familiar. Like revenants or doppelgängers, which in fact they are. They have all been released before. But in a different form. In different line-ups. With different band projects such as Tied & Tickled Trio, The Notwist or the Alien Ensemble.

With the „Songbook“, Micha Acher's aim was, as he says, to find out how the familiar pieces sound in a chamber music instrumentation. Therefore he met with Theresa Loibl (bass clarinet, piano), Timm Kornelius (bassoon), Markus Rom (guitar, banjo, electronics) and Simon Popp (drums, percussion) in his living room for a musical séance in the summer of 2022. The séance lasted two days. Afterwards, Markus Rom (Oh No Noh), added some haunting electronical ideas.

The mood of most of the pieces is melancholic. There are surprising twists and siren-like melodies. Just as ghost stories should be. However, most of the songs sound very light-footed. With their feet in pop, folk, jazz and classical music. Pieces such as „Johanna“ with its wheezing harmonium and spooky piano, or the dreamy „Modest Farewell“ on the other hand have a cinematic flair. Immediately faces and scenes arise in the mind. But at the beginning, there is „Hamlet“. It starts with ghostly electronics and merges into a calm, almost classical guitar piece. Could it be that the ghost of Hamlet's father is hiding between the strings?

„34E“ begins with a banjo. Then the deep humming of Micha Achers sousaphone and the other brass instruments kick in. In the slow, solemn „Aelita“, the sousaphone starts a dialogue with a children's piano. With the banjo and the other wind instruments acting as mediators. The title of „All Tomorrow's Past“ brings Velvet Undergrounds „All Tomorrow's Parties“ to mind. Another ghost from the past. What connects the two pieces is free-floating percussion, which accompanies the sumptuous melodies.

„Arc“ takes us on an exhilarating voyage at sea, with the sousaphone providing powerful propulsion. Towards the end, things get quite turbulent. With the clarinet stirring up the water, before the sea calms down again. „Henry and the Ghost“ is characterised by a ghostly mood change between major and minor. In „Radio Four“ the banjo with its stoic chords keeps the lively brass section in check. „Solid Ground“ is imbued with melancholy. „Space Minor“ takes us into outer space, with the power of sousaphone and percussion.

„Tomorrows“ is filled with cautious optimism. And the concluding „Nordlead“ turns out to be a revenant of the instrumental „N.L.“ from The Notwist's legendary album „Shrink“ from 1998. In the new version, the piece sounds like a distant echo. One that also brings to mind how Micha Acher's music has evolved. Which new worlds he explored and opened up since the nineties. And yet Acher's signature is recognisable in every single note of this fascinating „Songbook“.

Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Her’s) EP two: ‘Marionette’ has been produced by Daniel Fox (Sprints, Melts, Psychotic Monks, Naked Lungs, Nerves, Ronan Group) and it’s set to be seminal. A set text for future musicians with aspirations of innovation. “The theme of the marionette is present throughout each song, involving some aspect of a power struggle and a lack of control within oneself.” Opener ‘Chocolate’ bounces in on a synth line as slippery and hyperactive as anything Aphex Twin ever cooked up. Crispy offbeat electronic cymbals play counterpoint to atonal guitars and pugilistic drumming before the track dry-wretches its way into a nauseating cacophony of euphoria. It’s a tale of crippling social anxiety and a preference for an unflattering, lonely reality. The muted guitar pluck in the intro to ‘Crows’ is the sonic equivalent of biting one’s nails. An anxious, involuntary tic that speaks to the theme of guilt, especially surrounding digital culture: “children can watch what they please, just with viewer discretion.” The track lurches between textures, weaving themselves in and out of focus. Guitars blare like sirens, interrupting paranoid urban centres at 2am, while the bass sounds like the inside of an insomniac’s head on day four of a REM drought.

The metallic intent of ‘Discipline’ squats on the chest as though Steve Albini is your sleep paralysis demon. The pain of accountability spews from the industrial regularity of the beat, apt to the narrative of a soldier coming to terms with the lies that made him commit atrocious, violent acts. EP closer ‘Servant’ starts like a Spectrum loading screen. Dial-up modem-coded, it pauses for moments of white-noise-vomit and existential bloops. Fitting for a more abstract take on the idea of the power struggle filtered through religious imagery and self-awareness of one’s own actions, coupled with an inability to exert control over them. The band pile on the textures with sadistic glee until the evil is exorcized and the modem melts. Connection severed. Across the EP, vocalist Joseph has a tendency to hyper-fixate on themes of control and unhappiness. Creating rooms in which doom and isolation ricochet. Not that it’s all bad news “we like to think that by shedding light on the negative, it commands a sense of hope.” Influenced as much by the liminal-space horror and uncanny dread of Silent Hill as the existentialist theatre of The Twilight Zone or the absurdity of Twin Peaks, they occupy a space between unease and impulse. Makeshift Art Bar are not a band interested in being liked. They’re a band interested in being necessary. There’s so much eating and drinking in their work that multiple listens simply don’t satisfy; something new reveals itself on each return visit. Audacious. Idiosyncratic. Vital. A young band carrying identity, defiance and an uncompromising vision as if it isn’t a rare cargo.

Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Her’s) EP two: ‘Marionette’ has been produced by Daniel Fox (Sprints, Melts, Psychotic Monks, Naked Lungs, Nerves, Ronan Group) and it’s set to be seminal. A set text for future musicians with aspirations of innovation. “The theme of the marionette is present throughout each song, involving some aspect of a power struggle and a lack of control within oneself.” Opener ‘Chocolate’ bounces in on a synth line as slippery and hyperactive as anything Aphex Twin ever cooked up. Crispy offbeat electronic cymbals play counterpoint to atonal guitars and pugilistic drumming before the track dry-wretches its way into a nauseating cacophony of euphoria. It’s a tale of crippling social anxiety and a preference for an unflattering, lonely reality. The muted guitar pluck in the intro to ‘Crows’ is the sonic equivalent of biting one’s nails. An anxious, involuntary tic that speaks to the theme of guilt, especially surrounding digital culture: “children can watch what they please, just with viewer discretion.” The track lurches between textures, weaving themselves in and out of focus. Guitars blare like sirens, interrupting paranoid urban centres at 2am, while the bass sounds like the inside of an insomniac’s head on day four of a REM drought.

The metallic intent of ‘Discipline’ squats on the chest as though Steve Albini is your sleep paralysis demon. The pain of accountability spews from the industrial regularity of the beat, apt to the narrative of a soldier coming to terms with the lies that made him commit atrocious, violent acts. EP closer ‘Servant’ starts like a Spectrum loading screen. Dial-up modem-coded, it pauses for moments of white-noise-vomit and existential bloops. Fitting for a more abstract take on the idea of the power struggle filtered through religious imagery and self-awareness of one’s own actions, coupled with an inability to exert control over them. The band pile on the textures with sadistic glee until the evil is exorcized and the modem melts. Connection severed. Across the EP, vocalist Joseph has a tendency to hyper-fixate on themes of control and unhappiness. Creating rooms in which doom and isolation ricochet. Not that it’s all bad news “we like to think that by shedding light on the negative, it commands a sense of hope.” Influenced as much by the liminal-space horror and uncanny dread of Silent Hill as the existentialist theatre of The Twilight Zone or the absurdity of Twin Peaks, they occupy a space between unease and impulse. Makeshift Art Bar are not a band interested in being liked. They’re a band interested in being necessary. There’s so much eating and drinking in their work that multiple listens simply don’t satisfy; something new reveals itself on each return visit. Audacious. Idiosyncratic. Vital. A young band carrying identity, defiance and an uncompromising vision as if it isn’t a rare cargo.

Mood Child returns with Various Moods Vol. 5, a razor-sharp six-track album curated by Manda Moor and Sirus Hood. Bringing together some of their biggest weapons in their sets, the release delivers a standout selection of special records and high-impact dancefloor cuts from a finely tuned cast of artists.

Built with the club in mind, Various Moods Vol. 5 moves through deep, rolling grooves, stripped-back minimal flavours and tougher tech-driven moments, with each track carrying its own identity while hitting with real force. The result is a versatile and powerful package made for peak-time pressure, late-night sessions and serious selectors.

The release marks the return of Antss, Paul C and Francis De Simone, while also welcoming RSquared and Drumcapelli for their first outing on Mood Child. Adding further weight to the project is a standout contribution from highly respected UK artist wAFF, rounding out a release full of character, energy and club-ready impact.

May 2026 marks the arrival of TYGAPAW (aka Dion McKenzie)’s first full-length album on Tresor Records, entitled Together You Gather All Power Applied Worldwide. An acronym of its creator’s name, TYGAPAW’s third studio album is a deeply personal collection of music building worlds where Black queer and trans siblings can thrive, while unifying dancefloors worldwide. A proposition that collective wisdom liberates us from the matrix of domination we live within. The album unfolds as the latest chapter in TYGAPAW’s ongoing techno opera opus, continuing to center the voices of Black women, which surface as layered incantations rather than lyrics - powerful, haunting, sensual, activating.
With the process of creating the album starting in 2023, as TYGAPAW (Dion McKenzie) was in the first year of their transition, the music reflects the intensity of that period, where they were experiencing deplatforming as a response to the shift in their physical appearance: Tracks like ‘M32 Riddim’ and ‘Helicopter hovers over my Crown Heights Apartment’ feature high-paced rhythms intersecting with intense siren-like synths to form demanding compositions echoing a heightened sense of alert. Yet throughout the album, relief comes in the form of TYGAPAW’s vocal features, co-conspirators, and chosen family, whose voices are treated with reverb and echo, a sonic fingerprint that leads back to the pioneers in the legendary studios of TYGAPAW’s native land, Jamaica, an important reminder that the past will always inform the future. It is an album for dancers first and foremost, where joy, defiance, and integration with the natural body coexist, and every drop feels less like a climax than a transformation. Expect a bass that permeates your soul and melodic synthesized sequenced phrases echoing the dancehall eras of TYGAPAW’s youth, reshaped into hypnotic melodies that glow over industrial kicks designed to command attention, reasserting Jamaica's pioneering yet often overlooked contribution to electronic music.
In the opening track, ‘Can I Live’, Precious Okoyomon’s words feel like the beginning of a ritual; setting the intentions for the rest of the proceedings. As McKenzie puts it, their “work is about regeneration, resetting, getting integrated into nature, and about rebirth. That’s the tone I wanted to set at the outset of the album.” Ms Carrie Stacks continues this thread of support in ‘Don’t Panic’ with heavily processed vocals on top of a beat that takes inspiration from another important ingredient in the antidote to the oppression of isolation: Ballroom culture. “ I feel like I found my queerness in Ballroom, that’s why this track is very important to me.”
Echoes of NYC Black queer nightlife scene also permeate in the energetic drums of ‘Exorcise the Language of Domination’, in which Julianna Huxtable’s spoken performance complements the various movements and tones of the music. “My producer brain thought this was the one that Juliana’s vocals would be best suited for. I hinted: ‘what do you think of this one?’ She just went into her notes and picked some passages to go with the first section of the track. From there, it was a year-long process of development. It required time and space for this thing to evolve, but I think it’s one of the most powerful tracks on the album.” London’s SUUTOO contributes the album’s only musical collaboration on ‘B2B’, a track that emerged from sessions in McKenzie’s New York studio where the real objective was to connect and have fun; a time out from the demands of life outside.
The album closes out with a double hit of emotion in the form of ‘Effects of Resistance and Black Trans Masculine Experience’. The former features South African scholar Khanyisile Mbongwa drawing connections that exist between Africa and the Black diaspora, whilst looking to the future and calling for a shared sense of community.
The latter piece, an instrumental version of the piece which featured on the IMMIGRANT E.P. of 2025 is a gentle and deeply affecting end to the record, a place of peace and acceptance. This end-of-cycle tone is mirrored in the sleeve photography, which also ties back to IMMIGRANT by finally revealing what was hidden: a portrait of the artist fully self-actualized; a step towards true inner liberation. TYGAPAW is sonically defiant across this album; bass frequencies feel tactile — less heard than inhabited — infectious lead synth melodies remain with you long after the track ends. An overall sound that leaves asserting an urgent need for connection. From Detroit to New York to Berlin to Jamaica, despite geographic distance, this album reminds us that we remain in solidarity, recognising that meaningful world-building requires collective input and action, both personal and communal, if we are to move toward liberation.

- 2026 repress / hot foil printed sleeve -

Limited Edition: Box with holographic hot foil logo print and five printed inner sleeves - No Repress

SHDW's label, Mutual Rytm hits a notable milestone at the start of 2024 as it turns two years old and hits its 20th release. To mark the occasion, the carefully curated compilation 'Federation Of Rytm III' arrives on February 2nd with a 30-track 5 x 12" boxset vinyl release and a further 6 digital bonus tracks.

Mutual Rytm is synonymous with serious, no-frills techno. It is a go-to for the world's most influential DJs and a home to some of the scene's most innovative producers. Over the last two years, it has explored several shades of sound, always with high-quality production and forward-thinking styles. A fine balance has always been struck between new and emerging talents and established names with plenty more to say, and that is the case on this collection which features the legendary likes of Blawan, Gary Beck, Colin Benders, The Advent and Dax J next to ANNE, Alarico, JakoJako, Chlar, LDS and many more.

Founder SHDW says, "I've poured my heart into curating a compilation of 36 tracks, a reflection of my deepest musical passions. The lineup is stacked with incredible artists, and it captures the label's essence - a fusion of artists spanning generations, united by a shared spirit and aesthetic, creating a seamless 'mutual rhythm'."

Although all 36 tracks stand alone as high-grade and club-ready dynamite, they also collectively form a versatile listening experience thanks to how they've been carefully assembled into a perfectly sequenced journey.

Each one dives into a different nuance within the world of techno and there is a range of moods from dark and driving to more energising and uplifting. The collection not only shows how far Mutual Rytm has come in a short space of time but also that it remains in a constant state of evolution and has a bright future ahead in 2024 and beyond.

SHDW's vision at Mutual Rytm was always to present a cohesive yet varied musical experience, and Federation Of Rytm III does exactly that.

DJ Support: BEN UFO, Solomun, Marco Carola, Damian Lazarus, Jamie Jones, Joseph Capriati, Ilaria Alicante, Michael Bibi, Paco Osuna, D'Julz, Groove Armada, Dennis Cruz, Chloe Caillet, Kettama and many more

Enzo Siragusa opens 2026 with his ‘Kilimanjaro Sound’ EP, a release that expands on last year’s standalone single. Marking both Enzo and FUSE’s first drop of the year, the EP delivers the latest instalment in his longstanding Kilimanjaro concept while reaffirming the label’s position at the heart of underground club culture.

Following the digital release of ‘Kilimanjaro Sound’ back in October, the full EP frames the title track within a broader narrative of rhythm, atmosphere, and movement. A long-time fixture in Enzo’s sets throughout 2025, the title track established itself as a fan favourite through its rolling percussion, weighty low-end, and expansive spatial design, and now it takes on renewed presence on vinyl. New cut ‘Liquify’ pushes deeper into Enzo’s rhythmic sensibilities, pairing fluid groove structures with subtle tension and release. Designed for late-night floors, the track unfolds patiently, allowing swing, texture, and space to do the heavy lifting. It’s a natural continuation of the Kilimanjaro language, less about immediacy, more about immersion, showcasing his refined understanding of how momentum is built and sustained in true club environments.

Completing the EP is a remix from Giammarco Orsini, whose Garage Dub Mix of ‘Kilimanjaro Sound’ offers a fresh perspective while remaining true to the original. Born in Italy and now based in Berlin, Orsini has quietly evolved into one of the scene’s most respected selectors and producers, with releases on Cragie Knowes, Mood Waves, and Shonky’s Stoned Pilot. His interpretation strips the track back to its essentials, reintroducing it through a garage-leaning lens that prioritises groove, swing, and subtle pressure.

As the first release following FUSE’s latest DJ Mag Best of British Award, marking their second Best Club Event win, the EP reflects the values that have long defined the brand: community, longevity, and music built for real dancefloors. Pressed to wax, the release extends one of Siragusa’s most recognisable concepts and sets the tone for the year ahead - measured, confident, and rooted in the underground.

The new album by the collective that for
over 25 years has been among the most
representative names of the Italian dance
and electronic scene worldwide.
“BLOOOM”, this is the title of the new release,
will be available in all traditional stores and
on digital platforms starting January 16.
Set against the soundscapes that have become
the Planet Funk trademark, the lyrics by Dan
Black attempt to give voice to a fragile and
contradictory condition of our time: an
intensified sensitivity that, instead of
turning into openness and connection, often
becomes emotional overload. A generation
constantly overwhelmed by excessive stimuli,
relentless information, anxieties, and fears,
called upon to find its way in a world thaoffers neither pauses nor silence. In this paradox, sensitivity is no longer just a natural gift, but
a daily effort: staying open and receptive without being overwhelmed, trying to preserve a human and
vulnerable gaze in order, despite everything, to fully appreciate life and the present moment.
The single’s artwork—like that of the album—curated by Nationhood, visually conveys this tension: the
distant sirens of a city that amplifies feelings of disorientation and loneliness even when we are
surrounded by thousands of people.
“BLOOOM”, preceded by the single “FEEL EVERYTHING”, arrives at the end of an intense, creative year
full of music, which saw Alex Neri (DJ, keyboards, synthesizers), Marco Baroni (keyboards, piano,
programming), Dan Black (vocals and guitar), and Alex Uhlmann (vocals and guitar) engaged between
studio work, collaborations, and live performances in Italy and abroad. A journey that today
transforms into new energy, into an even more open vision oriented toward the future.
Exactly one year ago, PLANET FUNK released “Nights in White Satin”, a single that reached the top
positions of the radio charts and launched a season rich in concerts and DJ sets in Italy and around
the world. The subsequent “I Get a Rush”, the collaboration with Alfa and Manu Chao on the remix of
their hit “A me mi piace”, and the track “È Naturale” together with Francesca Michielin, confirmed
Planet Funk’s ability to renew themselves and engage with different musical worlds while always
remaining true to their own identity.
Throughout this journey, music has inevitably intertwined with life. The memory of Sergio Della Monica
and Domenico “Gigi” Canu, pillars and founding souls of the PLANET FUNK project, is a living part of
this new chapter. Their vision, creative spirit, and way of understanding music continue to be a
constant guide, a deep root from which new ideas and new directions can grow.
“BLOOOM” is also this: a personal and artistic blossoming that, starting from the legacy left by
Sergio and Gigi, transforms into a living process of growth, metamorphosis, and discovery. An album
that does not look back with nostalgia, but forward with awareness, momentum, and a desire for
renewal.
Founded in 1999, for over 25 years PLANET FUNK have represented one of the most important, solid, and
influential realities in the international electronic music scene. Born from the meeting of Souled
Out! (Domenico “GG” Canu and Sergio Della Monica) and Kamasutra (Marco Baroni and Alex Neri), and
following their debut with “Non Zero Sumness” in 2002 (a gold record and a turning point for the
band), PLANET FUNK have managed to reinvent themselves over time while maintaining a unique sonic
identity. This has led them to collaborate with internationally renowned artists, deliver iconic
performances around the world, create soundtracks and international advertising campaigns, and
continue to demonstrate constant creative vitality

Based in Rennes and founder of the Vives label in 2020, Weever has been exploring the interplay of light and shadow for over 10 years, crafting abstract soundscapes and textured sonic tunnels of unparalleled musical breadth. He elegantly blends industrial and baroque sounds to construct sonic cathedrals. His music is both utterly raw and meticulously crafted.

L’âge de la Galère :

started this EP in 2020. At the time, I had just finished my studies, it was a pretty difficult period and I had made a track, or rather a melody, that I thought was amazing. I held onto it all these years without ever releasing it. 2020 was a tough year overall. The big question was: What am I going to do with my life? Hence the title L’âge de la Galère

The title really started to make sense when I began putting tracks together for Micheal. Around that time, I was reading Those of 1914 by Maurice Genevoix. For those who don’t know it: it’s written as a journal and tells the story of the author and his fellow soldiers in the trenches during World War I.

I’ve always been passionate about the two World Wars, I watch every film, old and new, I listen to the soundtracks, and so on. Same with period films, especially medieval ones. I love drawing inspiration from them.

So naturally, I imagine and create around that. It comes easily because it’s always been my universe. And when I make music, those kinds of images inevitably come out, even subconsciously.

So I created and told an audio story through my 6 tracks.

“It’s 1914. The story of many men who, upon hearing the sound of the bells, are met with the announcement of a war like no other. Most of them are young, some very young, and they are drafted into the French and German armies. They have no military experience, and the first battles are so violent that many won’t make it back. Very few will earn the glory they deserve.

The conditions are appalling, everything is in short supply, and the men are exhausted. Still, they must hold on.
Leaving carelessly from beneath their mothers’ skirts, too few returned. Many were left traumatized, and an entire generation was forever changed.”

“The group has no niche, it doesn’t fit in anywhere,” explains Necessaries drummer Jesse Chamberlain in a 1980 Melody Maker interview. “We just state the facts about life in America, like The Clash did about England, but we’re not so heavy about it.” The Necessaries rose from the ashes of Harry Toledo & The Rockets, a little-known New York art-rock band playing gigs at Max’s Kansas City during glam’s metamorphosis into punk. —From the liner notes by Michael IQ Jones The Necessaries came together in 1978 and in the too-brief lifespan of the band counted among their members, Ed Tomney (Rage To Live, Luka Bloom), Jesse Chamberlain (Red Crayola), Ernie Brooks (Modern Lovers), Arthur Russell (The Flying Hearts), Randy Gun (Love Of Life Orchestra). First championed by John Cale on the strength of Tomney’s songs, Cale produced their first single for Spy Records (under the I.R.S. umbrella) which was released in 1979. With the forward momentum brought about by the single, the band set about tracking demos intended for Warner Bros., but The Necessaries ultimately would sign to Seymour Stein’s Sire Records. These rough demo basic tracks lacked overdubs, mixes and any finishing touches that would have made them viable for commercial release, but due to tour commitments, the band had to put the sessions on hold to hit the road. While on tour, the band was shocked to discover that Sire had issued the unfinished tracks as their debut album Big Sky (issued in 1981). The band had Big Sky withdrawn and replaced with Event Horizon (issued in 1982) which included half the original tracks from Big Sky and continued to record throughout 1982 aiming for a follow-up. It was not to be and their final studio sessions remained unissued until now. Completely Necessary (Anthology 1978–1982) is the first authorized collection of recordings by The Necessaries and includes 37 tracks, 28 of which are previously unissued. Completely Necessary represents the most accurate musical history of the band laid out across three albums. Disc one is the band-approved first album Event Horizon, followed by Pilots Facing North, a disc collecting studio recordings spanning 1978–1981 and disc three finally sees the release of their final sessions, Songs From The Blue Colony. Album notes by Michael IQ Jones trace the history of the band for this compilation produced by The Necessaries’ Ed Tomney and Cheryl Pawelski (Omnivore Recordings). The audio has been restored and mastered by Michael Graves at Osiris Studio, and both the 3-LP and 2-CD sets feature previously unseen photos across the package. Finally, an essential missing piece of the late ’70s/early ’80s New York scene that was just slightly ahead of the college alt-rock soon to come, is finally available to rediscover—this time it’s authorized and absolutely necessary. BUY! HERE’S WHY! • The first authorized and comprehensive anthology by The Necessaries. • Mid-’70s/early ’80s New York rock/punk/art scene band included members: Ed Tomney, Ernier Brooks, Arthur Russell, Jesse Chamberlain, and Randy Gun. • 37 tracks, 28 previously unissued. • Liner notes by Michael IQ Jones, plus unseen photos.

Outer Heaven Sound is a brand new label from Outer Heaven that makes a big impression from the off with Coventry artist going big. His A-side offering 'Badboy Sound' is just that - it has a muscular, rugged low end and freewheeling siren-like sounds with devastating sub bass and rude vocal musings. It taps into jungle roots with unrelenting bass pressure that demands to be played loud. On the flip, 'Droideka' gets even more dark with a minimal take and crushing breaks that are atmospheric and dystopian with real low end broodiness and plenty of smoky atmosphere. A superb first outing.

The first ASFON release has been a year-long labour of love that has come into being from what felt like a lucid dream, off in the distance, too crazy to believe was real. From our first meeting in the Freerotation yurt to late-night exchanges in Bristol, Winkles (Jamie Slater) has been sharing tracks that lingered long after the party ended. Their raw textures and warped sense of time found a natural home in our sets, eventually leading to the emergence of ‘The Unavoidable EP’, a collection of four diverse tracks which form a singular, immersive experience.

On A1 journey, The Unavoidable Consequence Of Familiarity, a knocking kick opens the door to this new sound world, introducing us to the granular clicks, crazed telephony and vocoded grunts which populate the deep space of Winkles’ imagination. Machines whir and perception shifts in the space between distant synth stabs, while a pulsating bassline battles to break through the filter and create a throbbing low end. Hallucinatory and deep, this is the perfect introduction to both the EP and the ASFON outlook.

Semi Stretches sees Winkles pick up a signal from beyond the outer rim, fire up the hyperdrive and lock into the rolling hum of intergalactic techno. Juggernaut bass forms the perfect counterpoint to the rapid fire rim shots trembling away up top as this Venusian club craft battles static, drives through the milky cosmic and transports the dancing bodies to a Multicoloured Plasticine Universe.

Cutting the engines and switching to suspended animation, Winkles lets us drift through a hazy dream-space where there’s no up or down, where twinkling arps, insectile electronics and hazy sirens coalesce into a psychotropic swirl.

Out of this multicoloured mirage comes Osaka-based astral traveller Erik Luebs, who translates that peak-time ambient bubbler into a Balearic chugger which emerges from the ether to add another dimension to the EP. Rubberised bass, velvet pads and nuanced percussion ensure this is perfect for poolside play in a land of pink sand and sideways tides.

"Take Me Up" features rolling chords, pads and uplifting vocals alongside the "Do the Do" break (a break I've always loved). This one came together very nicely, and i often play it in the car while driving down the motorway. Tony and I really enjoying writing this tune. 

"Siren" is a classic Subjects style tune through and through: Stabs, beats, vocals, 808s, and (of course) amen breaks, just how we do it. Nuff said!

A – Raise & Risk – The Itch

A tiny camel keyring tossed around on a contact mic and run through an ancient plate reverb makes up most of the percussions, odd ad-libs and wooshes in "The Itch". A 60 ton bass growl of mesozoic depth and some messed up hihats nicked from a previously discarded track round things off. Unfolds particularly well at high volume with ample Waterhouse-level low end.

B1 – Raise & Risk – Anthistamine
The initial minimalist groove of "Antihistamine" had already been in place for a while. But it was the log drums we added after a long night spent in a dark room surrounded by and partaking in mayhem that really tied it all together. Overall a moody and somewhat dissonant affair, the track breathes and oozes in unexpected ways, like we've never managed before.

B2 – Raise & Risk – Screwfix E17

Sirens wail, shouts compete for attention, a gnarly bassline tests your speakers and the drums switch between half- and doubletime 165 business. "Screwfix E17" is a rowdy loveletter to everyone's fav retailer of cheap tools and ambivalent service.

Saint Seiya returns with a 7th vinyl, once again featuring the legendary composer of the series: Seiji Yokoyama



Synopsis: The god of the seas, Poseidon, threatens to submerge the Earth beneath the waves. To counter this threat, Saori Kido, the reincarnation of Athena, travels to Poseidon's underwater sanctuary, where she is imprisoned within the central pillar, absorbing the waters to delay the flood. The Bronze Saints, led by Seiya, dive into the undersea realm to rescue Athena. They must face Poseidon's Generals, each guarding a pillar that supports the oceans. Through intense battles, they uncover that Kanon, the twin brother of Gemini Saga, is secretly manipulating Poseidon from the shadows.

This vinyl adapts the third arc of the series, the Poseidon Arc.


Seiji Yokoyama continues to captivate us with the sound of the mandolin, while the Mediterranean accents of this OST give it a distinctive and highly recognizable character that perfectly matches the third season of Saint Seiya.

Repress

At Sounds Of Sirius Music, we keep it real—no tricks, no filters, just straight-up, raw music. SiriusB is our new sub-label, and we're taking that vibe even further while keeping it classic.

SiriusB001 brings you sound that feels both timeless and ahead of its time. A fresh take on underground music that’s real, raw, and relevant. Straight from the source, no filters, no distractions. And to kick things off, Jay Tripwire is the real deal to launch this new label.

Heavy, mind-warping techno built for the late-night sessions. Kosh delivers deep, rolling basslines and spaced-out textures with pure underground energy. A must-have for selectors who like it deep and driving.

Radio Slave (Rekids) : Feeling "Whiplash"...
Laurent Garnier : cool EP
Ben Sims : Now downloading. Will check asap!
Marcel Dettmann : thx
Enzo Siragusa (FUSE) : Really nice EP!
Raresh (ar:pi:ar) : thanks
Archie Hamilton (Microhertz / FUSE) : Lovely stuff
Dorian Paic (Raum Musik) : No Exit is the one for me. Thx for the promo.
Truncate : Nice cuts
KT (Space Dust / Sisu) : Belter EP
Jerome Sydenham (Ibadan) : Downloaded for Jerome Sydenham
Domenic Cappello (Subclub) : nice release
Chloé Caillet (Smile Records) : love this!
Italojohnson (Italojohnson) : No exit for me
Darko Esser / Tripeo (Balans / Clone) : Kosh always delivers. Straight in the bag!
Mystic Bill (Classic / Trax / Relief) : Great release here, thanks!
Fred Everything (Lazy Days Music / 20:20 Vision) : Enjoying the dubby Whiplash, thanks!
Ame (Innervisions) : thanks
Ryan Elliott (Faith Beat) : Whiplash!!
Bill Brewster (NTS) : Lost in change is v good.
Harri (Sub Club) : nice, will play and support
Tal Fussman (Survival Tactics / Innervisions / Cod3QR / Drumpoet / Rekids) : nice one!!
Greg Gow (Restructured / Transmat / KMS) : great vibes will play out
Bake (All Caps/Rinse FM) : sick. thank you!
Enrica Falqui (ERIS, Plexus 4) : Love it!

Here is our Hot Sauce Volume 5 showcasing some seriously groovy and rare Rocksteady,
Boss and Reggay tracks mixed expertly for yet another thrilling early Reggae experience on vinyl.


Here is the much anticipated volume 5 of the HOT SAUCE compilation LPs dedicated to the Trojan related labels between 1965 and 1975.
HOT SAUCE volume 5 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits. The record labels showcased on this fourth volume are Amalgamated, Bread, Downtown, Duke, Explosion, Grape, Harry J Records , JJ Records, Rio, Splash, Upsetter and Techniques.

The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.
These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.

Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting
with the Rocksteady songs on the A side and the 70s songs on the B side.
The HOT SAUCE series is a musical journey across Trojan and its labels showcasing early Jamaican Reggae’s diverse musical genres and outstanding artists.
Since the early 70s’ “Tighten Up” and “Club Reggae” series, no compilations have really explored these labels in depth on vinyl.
It might be the last volume of the series as we know it so we wanted to make a splash for volume 5.
It is a nod to self-censored lewd Reggae covers from Trojan and Pama in early 70s. So don't fret,
a collectible yellow sticker has been strategically applied on the shrink-wrap to cover Miss Rocksteady's bottom!!
With its striking cover and its thrilling Reggay selection, volume 5 is bound to become another successful album in the Hot Sauce series...

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, SMan, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Toolroom’s leading lady ESSEL returns to the label with a brand new killer vinyl 2 tracker. First up is her recent smash ‘Rave Is The Weapon’ with fellow female powerhouse and talented DJ, producer and vocalist, Alex Mills. Alex Mills is on an incredible journey! She had a UK top 40 hit last year with ‘Million Dollar Bill’ and as a talented vocalist boasts writing credits on records with the likes of Camelphat, Solardo and Ferreck Dawn. When these 2 are in the same room together, the energy that exudes from them is on another level! Their genuine friendship and thirst for fun is clearly visable and this spills into the record in a massive way. This BANGS! A peak-time tech houser in a similar vein to ESSEL’s Beatport chart topping tracks ‘Sweat’, and ‘Lennon’ with a lyric that will be screamed on dance floors and at festivals for the foreseeable future… ‘RAVE is the weapon!’ On the flipside is her late 2023 Toolroom single ‘The Edge’ that already sits on an impressive 4m streams and almost 40 Radio 1 plays. She has received a huge amount of radio support over the past few years which was rewarded with a DJ booking at Radio 1’s ‘Big Weekend’ back in May alongside the world’s leading artists. As far as the record is concerned… This is a real EARWORM! A stripped back, fun record with insanely catchy vocals and one that will please radio DJs, and club DJs alike.

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

2025 Repress

Chicago legend, Green Velvet, returns to Toolroom as he locks horns with label founder Mark Knight and studio partner, James Hurr, for 'The Greatest Thing Alive'. A low slung, chunky affair that screams Miami Space terrace at 8am! Quirky, full of character and Green Velvets unmistakable vocal re-work of the classic 'Mannish Boy' from Muddy Waters pushes this record into a really special place. Green Velvet debuted on the label back in 2015 alongside Technasia with 'Suga', a record that went onto to be an overall Beatport #1 and remained as their highest selling track for many years that followed, the track also sits on an impressive 9m streams. On the flipside, head honcho Mark Knight, returns with studio cohort and DJs favourite James Hurr, as they take on one of House music's all-time classic records; 'Lady (Hear Me Tonight)'. No messing around, Mark and James offer up an alternative take to this stone cold classic, bringing the infectious vocal and iconic guitar riff to the forefront, mixing into a signature Mark Knight club heavy beat. Having previously collaborated on 'Make You Happy' with Todd Terry and last year's 'You Are A God' with vocalist Cari Golden, Mark Knight and James Hurr are fast becoming a killer duo in the studio, and throughout the scene. Offering up a killer reinterpretation of legendary House classic 'Lady (Hear Me Tonight)' by French House duo Modjo, a record which transcended the boundaries of dance music back in the early 2000's and has since become a record synonymous with the era. True to form, Mark Knight and James Hurr mix their musical prowess together and deliver yet another stomping hit for the clubs!

Countless radio plays on Radio 1 from Danny Howard, Sarah Story, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Having been re-discovered as a groundbreaking slice of proto-grime from 1994, Dylan Beale’s legendary soundtrack for the SNES game Wolverine: Adamantium Rage finally gets the reissue treatment it deserves via Sneaker Social Club.

When the game came out in 1994, Beale’s soundtrack for the SNES edition stood out from the pack for its gritty beats, deceptively weighty low end and edgy orchestra stabs, but few would have guessed how certain tracks would predict the shape of music to come. Around 2016, the ‘Tri-fusion’ track in particular was picked up on by London-based producer Sir Pixalot as a mind-blowing slice of Eski beat coldness. To prove his point, Pixalot ran an acapella from J-Wing over the track and the results spoke for themselves.

While ‘Tri-Fusion’ is a straight-up accidental grime sheller, there’s scores more heat packed away in Beale’s soundtrack for Adamantium Rage. The limitations of the space on the game cart meant Beale had to get creative with the most limited samples. Fortunately his background producing UK hardcore and jungle in Rude & Deadly and Stuck To Your Lips meant he knew his way around the restrictions of an Akai s950. Fuelled by the inspiration of jungle and West Coast rap, he worked on the game soundtrack with a similar spartan attitude, limited to 200kb with which to load up the music engine for the game, samples and all.

Given the importance of minimalism in the effectiveness of soundsystem music, it’s not surprising tracks like ‘Cyber’ and ‘Dark Queen’ pack a punch which could absolutely set a dance off. Watch out for ‘Weapon X Lab’ too - another stand out bomb creating a deadly machine funk out of the tightly clipped bass samples and weird animal groan loops. Alongside the full, original soundtrack, this first issue of Wolverine: Adamantium Rage OST comes with additional tracks never used in the original game which widen out the styles Beale was exploring within the shockingly limited means at his disposal.

“I vividly remember when we first played the soundtrack on a bigger set of speakers to the boss,” Beale recalls, “his initial reaction was one of amazement that we had created something so ‘real’and different in comparison to everything else out there in terms of video game music, which I remember with great pride and fondness. Comparing to everything out there, it was totally unique- a moment in time.”

Kinn turns the Post-Rock continuum inside out with his sophomore album, Dogtooth.

Shifting focus between his present self and his misled teenage years, 'Dogtooth' sees London born and raised sound art graduate Fred Lomas contemplate the vulnerability of youth, addiction and suicide as Kinn. Unabashed in their creative ambition, Kinn's tongue-in-cheek 'dread-voyeurism' is underpinned by a palpably sincere vulnerability that seeps through their dynamic and rewardingly dense records.

An insight into Fred's formative years can be unraveled from his nickname "Dread", originally given to him by his parents. Growing up in North London as a 'constantly out of the house' youth, Fred only had eyes on any counterculture he could find to defy the city's notorious empty capitalist centric mainstream culture, skateboarding, graffiti, and terrible punk bands which would only last 1-3 rehearsals (max). As a teenager he experienced the notorious 2011 Tottenham riots, which is often referenced in the artist's output and greatly informed their sensibilities. Barely an adult, he was confronted first hand with concepts of constant hostility and corruption which were seemingly welded to his surroundings, corruption formed by high rises and international political scandals taking place only a short journey away.

Even today, Dogtooth reflects on this contrast of community and anger and surmises it to be part and parcel of modern metropolitan life, looking to peel away the bad looking for meaning, comfort and ways of goofing off amidst oppressive forces, sirens and snake oil salesmen everywhere.

Repress!

One of the gems on the smash hit album 'Soulmatic', Purple Disco Machine & Boris D'Lugosch's, 'Love For Days' gets the remix treatment three ways.

First up the master Kenny Dope - crisping up that shuffling rhythm with some added percussion and synthesiser arps to turn what was already a peak time soulful anthem, into a close to 8 minute extended journey drawing you in more and more with each build up and breakdown. Next up the PDM offers up an extended mix of the original, a welcome sight for those DJs on the club scene who have been rinsing this since the album dropped last year.

Finally, Motez takes you into raunchy, r&b tinged, garage territory, really honing in on Karen Harding's incredible vocals whilst incorporating brooding pads and sweeping fx's to create a special twist on the original.


DJ Support:

Aeroplane (Aeropop / Eskimo Recordings), Klingande / Kungs / Michael Calfan c/o (Unity Group Promo Sorter), Autograf (Counter Records), Treasure Fingers (Psycho Disco! / Fool's Gold), Malente (Southern Fried Records), Satin Jackets c/o (Eskimo Recordings / N.E.W.S.), Eric Sharp (9G Records), Gregor Salto c/o (Spinnin' Records), DJ Blake Jarrell (Armada Music), Jerome Price (Throne Room Records), DJ Licious (Spinnin' Records), Travis Emmons (Weapons Music), Electronic Youth (KMS), Solidisco (Fool's Gold / Ultra) :: Mark Knight c/o (Toolroom Knights), Mike Mago (Boemklatsch), Muzzaik (Spinnin' / Toolroom), The Disco Boys (We Play Music), Trevor Mac (Jalapeno Sound System), Ferdinand Weber (Spinnin' Deep), LCAW (Ultra), Plastic Plates (Sweat it Out), Mark Lower (Nurvous), Don Diablo c/o (Axtone / Spinnin' Records), Eton Messy, Après (Love & Other Records), Spada (Ego Music / Hysterical), Eelke Kleijn (Spinnin' / Suara), Horsemeat Disco (Strut Records / K7! Records), Horsemeat Disco (Strut Records / K7! Records), Adriana Lucia (Get Physical), Broc Roc (Dj B-Roc of The Knocks), Chordashian (Mullet Records), Hector Romero (Saw Recordings), Just Kiddin (Nervous Records)

Idris Elba c/o (Connaisseur Records / 7Wallace), Klingande / Kungs / Michael Calfan c/o (Unity Group Promo Sorter), Shiba San c/o (Suara / CUFF), Malente (Southern Fried Records), Rudimental (Asylum / Big Beat), Sirus Hood (Under No Illusion / Dirtybird), Marc Spence (This Ain't Bristol / Skint), Martin Solveig c/o (Spinnin' Records), Horsemeat Disco (Strut Records / K7! Records), Riva Starr c/o (Hot Creations), Mike Mago (Boemklatsch), Kokiri (Love & Other), Fred Falke (Work It Baby Records), Claptone c/o (Exploited), Roger Sanchez (Stealth Records / Astrx), Don Diablo c/o (Axtone / Spinnin' Records), Icarus (FFRR / SubSoul), Pezzner (Dirtybird), Jourdan Bordes (Phonetic Recordings), Mahalo (Toolroom / Bunny Tiger), AC Slater (Night Bass), Chordashian / Felix Feygin (Mullet Records), Fei-Fei Wang, Kristina Sky (Ultra / Armada), Thee Cool Cats (Toolroom / Bunny Tiger), Solidisco (Fool's Gold / Ultra), Infected Mushroom c/o (HOMmega Productions), DJ Blake Jarrell (Armada Music),Travis Emmons (Weapons Music), Human Life (LIFEX / Exploited), Treasure Fingers (Psycho Disco! / Fool's Gold), Hector Romero (Saw Recordings), and Danny Howard (BBC Radio 1 / Nothing Else Matters)

High Focus Records are excited to share a new full length offering from prolific Brighton based producer Mr Slipz, this time with a fresh label signing, Australian rapper Nelson Dialect. A landmark release and signing for High Focus with Nelson being the first international signing on the label. UK listeners might have first heard Nelson collaborating with Verbz & Mr Slipz on the song ‘Hope’ from their acclaimed LP ‘Radio Waves’ released on High Focus in 2020. Nelson has a cult following in his own right in Australia, and previously released music on the legendary U.S label Fat Beats to great acclaim. Now teaming up with one of the most exciting and respected UK producers, Nelson & Mr Slipz deliver ‘Ever Since’. A statement piece by two artists with well over a decade spent on their craft which sounds as urgent and refreshing as if it were their first time releasing music. The album’s title is a reference to the endless quest for a timeless sound, reflecting the creative partnerships which spark from a seemingly forever existing thread of music. The two artists crossed paths whilst Nelson was on tour in Brighton, and a chance introduction to Slipz made this album a reality. As fate would have it, due to a cancellation of plans and changing of schedules during Nelson’s tour, the pair ended up in the studio for 8 days straight together which is when the bulk of the album was created. They each saw this as a cosmic alignment and thus played into the albums astrological artwork themes and overarching concept. Striving to capture the lightning in a bottle moment, what resulted musically on this album was an inspired surge of energy and intense creative output that is felt across the entire LP. Equal parts personal and lyrically dextrous, Nelson explores a multitude of concepts over the hard hitting drums and jazzy samples producer Mr Slipz is renowned for through his previous work with artists including Verbz, Kofi Stone, Vitamin G & Datkid among many more. The album features a slew of impressive guest verses including label mates Vitamin G & Verbz on the emphatic ‘Oxford Scholars’. Two legends Jehst & Confucius MC combine on ‘Smooth Ride’. Bronx pioneer & D.I.T.C legend A.G delivers a show stopping verse on ‘Trembling the Marrow’. There are hypnotic singing performances by Indira May on ‘First Date’ & ‘Open Book’ as well as Hiatus Kaiyote back up vocalist Jace XL on the soul stirring anthem “Figure Out What’s Right”. U.S rappers SickInTheHead & Cazeaux O.S.L.O round out the impressive guest list on the album with their inspired verses. Listeners caught their first glimpse of the duo with their debut single ‘Only Just Begun’. A whirlwind 3 verse tune showcasing the relentless wordplay and imagery Nelson is regarded for over a moody, hard hitting Slipz production. With a buzz already around what Nelson Dialect & Mr Slipz are brewing, the duo have just released their second single ‘Oxford Scholars’ featuring label mates Vitamin G & Verbz

X Files returns for the series’ second instalment, dropping vinyl debut armed with two fresh edits.

Launched in 2021, X Files unveiled a new Unknown Artist series exploring the realms of house and beyond via slick takes on unconventional records, transporting them to main room dance floors and hazy early morning after parties. Following support from Marco Carola, Jamie Jones, Skream, Michael Bibi, Enzo Siragusa, Dennis Cruz and Archie Hamilton, March sees the first vinyl release on the label with another two-track package for the series’ second anonymous release.

Harnessing one of music’s most iconic melodies and vocals alongside murky bass and tough drums on the A-Side, before keeping things funky and punchy on the flip, XFL002 serves up a hot slab of wax set to be a must-have for many.

Support:
Jamie Jones
Michael Bibi
Marco Carola
Skream
East End Dubs
Luuk van Dijk
Ben Sterling
Archie Hamilton

"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."

Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

2 artists, 2 tracks, 2 remixers. I am very proud to present this DUAL release from artists A_GIM and Alex Mine who both deliver some hard hitting peak time stompers for the dance-floors around the globe. And I am equally proud to have the 2 remixers I admire Yan Cook and Moteka onboard for the more underground remixes of the tracks. I honestly love all versions. The involved artists really delievered some special treats for Noir Music and I am so happy with the end results for this release. People who have attended my gigs the past 5-6 months have heard these tracks out loud. Now its time to unleash the goodness to the world. Dual is here.

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

Andreu G. Serra and Kiran Leonard first met in Lisbon nine years ago, arriving in the city within weeks of each other by chance. Living together in a crumbling warehouse in Alto São João, they recorded a series of improvisations that became The Piri Piri Samplers (Memorials of Distinction, 2019): Serra’s abrasive, tape-warped guitar lines colliding with Leonard’s stark, pedal-free counterpoint. They played a single gallery show, left Lisbon that summer, and then spent almost a decade living in different countries.

When Stroom reissued The Piri Piri Samplers in 2024, the label suggested the duo make a new record. At first, it seemed impossible: Leonard was in London, Ubaldo in southern Catalonia, and their attempts at long-distance recording quickly collapsed into nothing. But the near-failure sparked something. Leonard travelled to Catalonia to restart the process in person; soon after, Serra moved to South London, and the pair began meeting every week.

The result is Making Friends: a richer, more expansive album built over six months. Where The Piri Piri Samplers was assembled from raw improvisations, Making Friends transforms fragments into fully realised songs, weaving together nylon and steel-string guitars, piano, drums, bells, samplers and more. For the first time, Serra and Leonard sing together, each in his own language - Catalan and English - sometimes translating one another in real time.

Musically, Making Friends still carries the jagged dissonance and free-blues spirit of the duo’s earlier work, while opening outward toward everything from emo and blown-out noise to fractured chamber pop. There are only three guests on the album, and they are worth mentioning: Rachel Leonard and Antonia Serra (the musicians' mothers) on the seventh tune, and the American poet Pete Simonelli (of Enablers) appears on Top of Duboce / Tyne Bridge Crossing, one of the album’s two sprawling centerpieces.

At its heart, Making Friends is an album about friendship: about distance, reunion, family, and the stubborn need to make music together. It begins with uncertainty and disconnection, but ends somewhere stronger - with, as put on the closing track, “molta il.lusió per lo que pugue vindre” or “much excitement for what may come.”

Sirens" resonate a lot in 2026. "Sirens" are everywhere right now, in the many fields of the human reign, sounding at its highest level ever... Pioneering Swiss DJ and electronic music producer Ripperton joins forces with Berlin-based singer, composer and passionate aural storyteller Joy Frempong (OY) to create a beautiful and deeply moving piece of electronic music. And after three years in the making, “Sirens” finally emerges. The roots of this collaboration however reach back more than a decade. Around 2010, Ripperton first encountered Joy’s first album with Oy after hearing it on Swiss national radio Couleur 3. Shortly after, he saw her playing live — a moment he describes as pure magic. So inspired, Ripperton approached her label with a request to remix her music. The label agreed, and in exchange, Joy promised to feature on one of his future productions. What began as a mutual artistic gesture quietly planted a seed and eventually, pretty much fifteen years later, that seed has fully grown. “Sirens” began as one of Ripperton’s nocturnal modular jams — exploring and playing around with pulsating sequences, pure analogue sound textures and fluid, hypnotic structures. The track was then elevated to an entirely new level by Joy Frempong’s deep, evocative lyrics and her celestial voice, transforming the song into something haunting and profoundly human. The song also grew on a shared work ethos rooted in patience, trust and refinement. A slow process, shaped by intuition and feeling rather than pressure. Listening over noise. The result is an emotionally charged composition that blurs the line between inner reflection and collective awareness — a sonic response to the sirens of our time.

Quotes: Laurent Garnier: “This is lovelyyyyy * “ Aera: “Love it! A brooding masterpiece. Simple yet multilayered, the real action is happening beyond the surface.” Acid Pauli: "This is really special. Like it a lot." Kalabrese: "Wonderful collaboration between two outstanding artists. Fresh sounds, deeper rauschen, beautiful vocals, hypnotic tribe. a bliss!” Vladimir Ivcovic: "Das ist so gut, aufrichtig, rein und kommt zum richtigen Zeitpunkt. Die Abwesenheit von Hysterie. Ich liebe es. Downcast Euphoria of the highest order und gerade. In der Tat wunderschön. Besonders Clouds Mix, gerade."

Das dritte Album der Londoner Band Sorry!

Seit ihrem Debüt "925" 2020 arbeiten Sorry an einer Topografie aus Anspielungen, Zitaten, falschen Fährten. Nun, mit COSPLAY (ab 7. November bei Domino), reißen sie die Landkarte ab, zeichnen alles neu. Ein Album als Maskenball: Jede Figur darf hier auftreten, lebend oder tot, real oder erdacht. Es ist das Werk, das Sorry von sich selbst befreit. Das Album fühlt sich an wie ein Spielzimmer für popkulturelle Geister. Ein Guided by Voices-Song mutiert zur Ballade über die Schmuddelecken des Ruhms, die berühmteste Cartoonfigur der Welt schleicht sich als Sirene ins Bild, theoretische Physik wird zu Rockmusik, die schwerer schlägt als jede Formel. Sorry haben das neue Material bereits live erprobt, erst auf eigener UK-Tour, dann als Support von Fontaines D.C., und man hört die Mischung aus Selbstsicherheit und Übermut, die dabei gewachsen ist.

Oceanine, Jolanda Moletta’s third album and her first for Beacon Sound, is a powerful and ethereal statement of artistic community. Expanding on her previous work, each track represents a collaboration with a different female vocalist, with the foundational elements being generated entirely by her own voice. By turns haunting, enchanting, and inspiring, you won’t want to come up for air once you’ve been pulled under. Representing a
musical practice that is distinctly feminist, this is an album with a longer view in mind, to an age when the altars were to goddesses and women were centered as powerful beings representing the earth’s cycles of regeneration and renewal. Oceanine then, in all its beauty, can be viewed as an album of survival. It is deeply transportive, accessing something that lies within all of us. As the late, great Lithuanian folklorist and archaeologist Marija Gimbutas noted, “We must refocus our collective memory. The necessity for this has never been greater as we discover that the path of 'progress' is extinguishing the very conditions for life on earth.”

Jolanda Moletta is a multimedia artist and one-woman electronic choir. She creates wordless compositions through extended vocal techniques, integrating wearable-controlled live processing, alongside symbolic visuals. Moletta considers her performances to be a collective ritual and creates her Sonic & Visual Spells following the cycles of nature and the moon. Jolanda's 2022 critically acclaimed album Nine Spells was released on the Ambientologist label, followed by Night Caves on Whitelabrecs in 2025. Moletta’s artistic practice is a radical and spiritual journey through sound art, ritual, and the symbolic archaeology of the feminine.

Oceanine is inspired by sirens, water nymphs, and the timeless call of the sea. At its core lies Jolanda’s deep, lifelong connection to the Mediterranean Sea and to the ancient and modern myths and folklore that have emerged from its waters. Growing up by the Mar Ligure, Jolanda was surrounded by stories carried by salt, wind, and waves: legends of sirens, echoes of ancient voices, and the sea as both origin and oracle. This intimate relationship with the Mediterranean is not merely a backdrop, but a living source that shapes Oceanine’s emotional, symbolic, and sonic world.

Each track features a different female vocalist, creating a rich tapestry of voices, styles, and perspectives. This artistic choice not only broadens the album’s sonic palette, but also deepens its narrative core: celebrating the power, beauty, and mystique of feminine energy through myth, history, and sound.

The entire album is built exclusively from the human voice, processed and layered, yet always remaining voice, and nothing else. For each piece, Jolanda invited every vocalist involved to contribute a raw stem: a short, unedited melodic fragment of just a few seconds, inspired by the album’s themes. These intimate vocal seeds became the foundation of each track: the guest artists’ voices appear as brief, melodic stems, while the entire surrounding “orchestral” fabric is created solely from Jolanda’s own layered and processed voice. In this way, Jolanda’s voice becomes the Ocean itself, embracing, absorbing, and carrying the sirens’ calls within a vast, immersive soundscape. Every song is a unique expression of the feminine experience, revealing its depth, complexity, and emotional range, echoing the call of the sea and the many faces of the siren archetype.

The figure of the siren has transformed across centuries. In myths of Ancient Greece and Rome, sirens were hybrid beings, part woman, part bird, whose irresistible songs lured sailors to their doom. During the Middle Ages, the image shifted toward the half-woman, half-fish figure, often associated with temptation and danger. Historically, the voice of women has often been feared. Sirens were considered harbingers of misfortune not simply because they seduced or destroyed, but because they were powerful liminal beings.

In Ancient Greek, sirens functioned as psychopomps: figures who existed between worlds and guided souls, especially between life and death. Their songs were believed to carry forbidden knowledge, including prophetic insight and the ability to reveal truths about fate and the future. The danger of the sirens lay in what they revealed: knowledge that humans were not meant, or ready, to hear.

Oceanine confronts this legacy head-on. The voices heard throughout the album are not merely beautiful: they are dark and luminous, wild and enchanting, magical, soothing, dreamy, and at times fractured or distorted. They whisper, lament, beckon, and enchant. Like sirens, they skim the surface of the water and sink into its depths, hovering on the edge between tenderness and danger, vulnerability and power. They rise toward the sky, dissolve into mist, and return as echoes charged with raw, elemental emotion: voices that seduce, warn, mourn, and remember. They refuse to be reduced to decoration.

Alongside the album’s release in May, Oceanine will also unfold as a visual and performative work through a short art film. The film includes a live session recorded inside a sea cave facing the Mar Ligure, the very coastline where Jolanda spent her childhood, dreaming of sirens and listening to the sea as if it were speaking directly to her. This site-specific performance reconnects the music to its place of origin, allowing the voice to resonate within stone, water, and air, and transforming the cave into both a sanctuary and a threshold between myth and reality.

What if the sirens’ songs were considered dangerous because they carried another truth, an ancient truth long forgotten?

Oceanine embraces the idea that we are still deeply woven into myth. Though we may see ourselves as rational and modern beings, our world is saturated with ancient symbols and archetypes, often distorted, simplified, or stripped of their original meaning. And if those symbols are allowed to shift, if the mirror once held by the siren becomes an invitation to look beyond appearances and into what has been obscured, then we may finally uncover a deeper truth and reclaim the voice that was always ours.

Oceanine is not just an album. It is a reclamation, a spell, and a call from the depths.

Repress 2026

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

The next of Toolroom’s 4 track vinyl sampler series kicks off with a bang(er!). Welcoming CHANEY back onto the label with possible his finest release to date in the shape of ‘I Choose You’. On Toolroom alone he has amassed over 40m streams across leading streaming stores in just 3 years and can add massive imprints like Defected, Insomniac and Perfect Havoc to his list of musical successes. Everything in this record is 100% original and written by CHANEY himself from the self-played bass line, lush rhodes chords and distinctive, poignant vocals.

Next up is Gene Farris who has been a mainstay on Toolroom in recent years and is a regular artist at our label events all over the World. ‘In My Heart’ lands as an exciting collab with the Basura Boyz, a duo also hailing from Gene’s hometown of Chicago and the chemistry between the 3 of them is evident from the first beat! A super cool, stripped back vocal tech house track that sits in that sweet spot of club and specialist radio.

Kicking off the B-side is Deeper Purpose who returns to Toolroom alongside Jalja & Lazy Joe, after his debut club weapon ‘Stutter’ dropped on the label last year. He has had success across all the scene’s leading imprints over the past 12 months including Fisher’s Catch n Release, Experts Only and Repopulate Mars and this record is an anthem in the making! Jalja is on vocal duties, the vocalist that shot to fame after her huge ‘Hanging Tree’ record alongside Michael Bibi. She adds her trademark ethereal vibe to the record and delivers a typically killer hook - This is a real EAR WORM!!

Wrapping things up on Sampler 14 is a very exciting collaboration from 2 of the scene’s brightest shining new stars; Tony Romera and Crusy. Having been die-hard Toolroom fans for many years, this record came about during a conversation about old Toolroom records, and how they collectively wanted to emulate that slightly progressive tech house but bring it right up to date. And they have certainly done that! A real peak-time dance floor moment here with insane production and a unique, intense build up that is already causing maximum mayhem!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong

Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Eines der besten Metal-Alben des Jahres 2025 wird 2026 als exklusive Metal Hammer Picture Disc geehrt. Klasse Artwork, einmal "The Rat Queen" aka Band-Chefin Riley Pinkerton, einmal die gesamte Band plus Logos und Tracklist. Das Fantasy-Mittelalter-Metal-Phänomen CASTLE RAT präsentiert sein zweites Album! Castle Rat ist die NY Fantasy-Heavy-Metal-Band, die von der Rat Queen angeführt wird, welche die Mission verfolgt, ihr Refugium gegen diejenigen zu verteidigen, die es zerstören wollen. Ihr zur Seite stehen The Count, The Plague Doctor und The All-Seeing Druid. Gemeinsam stellen sie sich mit Heavy Magie dem unerbittlichen Zorn ihrer Erzfeindin - dem Tod in Form von The Rat Reaperess. The Bestiary ist ein riffgeladenes Kompendium mystischer Kreaturen und vorwarnender Erzählungen aus einer vergessenen Welt. Es erzählt 13 allegorische Geschichten von mythischen Bestien und dem Zauberer, der sie beschwört, und verwebt kraftvolle Heavy-Hymnen und dunkle Verzückungen zu einer betörenden und unvergesslichen Heavy-Metal-Odyssee. Als ob Grace Slick mit Black Sabbath ca. 1200 A.D. auf einem Kiss-Konzert Liebe macht. Aufgenommen von Randall Dunn (Sunn O))), Wolves in the Throne Room, Björk) und gemischt von Jonathan Nuñez (Torche, Restless Spirit), bietet das Album episches Heavy-Gemetzel und doomy Hard Rock. Hervorgegangen aus New Yorks abscheulichem, kreaturenverseuchtem Untergrund, schlugen die Fantasy-Heavy-Metaller zunächst mit ihren Live-Auftritten und später mit ihrem Debütalbum "Into The Realm" im Jahr 2024 große Wellen. Seit ihrer Gründung im Jahr 2019 haben CASTLE RAT ein lebendiges Labyrinth aus Erzählungen und Mythen geschaffen, welches sie nun rund um die Welt führt. Die MH Picture Disc kommt in durchsichtiger, halbfester PVC-Hülle mit Lasche (semi-rigid transparent PVC sleeve with flap), ansonsten auch noch auf CD (aufklappbares Digipak), MC (mit gefaltetem Inlay) und auf LP (farbiges Vinyl, inklusive ausklappbarem Lyrics-Insert)!

Eines der besten Metal-Alben des Jahres 2025 erhält eine hochwertige Zoetrope Vinylversion. Ein farbenfroh animiertes, detailreiches Sammlerstück für Musikliebhaber. Das Fantasy-Mittelalter-Metal-Phänomen CASTLE RAT präsentiert sein zweites Album! Castle Rat ist die NY Fantasy-Heavy-Metal-Band, die von der Rat Queen angeführt wird, welche die Mission verfolgt, ihr Refugium gegen diejenigen zu verteidigen, die es zerstören wollen. Ihr zur Seite stehen The Count, The Plague Doctor und The All-Seeing Druid. Gemeinsam stellen sie sich mit Heavy Magie dem unerbittlichen Zorn ihrer Erzfeindin - dem Tod in Form von The Rat Reaperess. The Bestiary ist ein riffgeladenes Kompendium mystischer Kreaturen und vorwarnender Erzählungen aus einer vergessenen Welt. Es erzählt 13 allegorische Geschichten von mythischen Bestien und dem Zauberer, der sie beschwört, und verwebt kraftvolle Heavy-Hymnen und dunkle Verzückungen zu einer betörenden und unvergesslichen Heavy-Metal-Odyssee. Als ob Grace Slick mit Black Sabbath ca. 1200 A.D. auf einem Kiss-Konzert Liebe macht. Aufgenommen von Randall Dunn (Sunn O))), Wolves in the Throne Room, Björk) und gemischt von Jonathan Nuñez (Torche, Restless Spirit), bietet das Album episches Heavy-Gemetzel und doomy Hard Rock. Hervorgegangen aus New Yorks abscheulichem, kreaturenverseuchtem Untergrund, schlugen die Fantasy-Heavy-Metaller zunächst mit ihren Live-Auftritten und später mit ihrem Debütalbum "Into The Realm" im Jahr 2024 große Wellen. Seit ihrer Gründung im Jahr 2019 haben CASTLE RAT ein lebendiges Labyrinth aus Erzählungen und Mythen geschaffen, welches sie nun rund um die Welt führt. Zoetrope-Vinyl kommt in durchsichtiger, halbfester PVC-Hülle mit Lasche (semi-rigid transparent PVC sleeve with flap),auch noch auf CD (aufklappbares Digipak), MC (mit gefaltetem Inlay) und auf LP (farbiges Vinyl, inklusive ausklappbarem Lyrics-Insert) erhältlich.