Leon Vynehall’s critically acclaimed ode to the formative cassette mixtapes of his youth, Music For The Uninvited, celebrates 10 years with a reissue on his Studio Ooze imprint, and comes with 2 previously unreleased bonus tracks, ‘Peaces’ and ‘Blue’, recorded during the same sessions.

There’s a stirring musicality of nostalgic disposition at the heart of Leon Vynehall’s ‘Music From The Uninvited’. Originally released on Martyn’s 3024 imprint in 2014, its premise across seven tracks was sincere yet simple; a strikingly personal tribute to the flow and textures of the cassette mixtape through the sounds of modern dance music. Specifically, it was influenced by Vynehall’s early childhood memories of listening to his Mum’s funk, soul, and hip-hop tape collection while she drove him to and from school. This conceptual infrastructure, paired with its wide-eyed dancefloor inclinations, helped elevate the release beyond its immediate club surroundings into something much grander and widely celebrated.

A warbling textural continuum of tape hiss, aided by the record’s mastering from tape, and Vynehall’s unrivaled knack for melody and hooks forms the celebrated core of Music For The Uninvited. It’s rousingly immersive as a result, enhanced by a symphonic soul courtesy of Laurie Ross (aka Eagle For Hands) and his cello playing on tracks like Inside The Deku Tree

and Be Brave, Clenched Fists. The influence of sampling also looms large, with the record’s anthemic centrepiece It’s Just (House Of Dupree) showcasing this best in its famous inclusion of Willi Ninja’s dialogue from the documentary ‘Voguing: The Message’. Tracks like Goodthing and Pier Children offer the release’s most club-focused moments in their bump’n’swing house moods and grooves. In contrast, the swooning balearia of Christ Air and St. Sinclair offer a gorgeous two-part conclusion to its original tracklist. The previously unreleased Peaces and Blues are both included here for the first time to commemorate the record’s decade anniversary, two tracks recorded in 2013 during the same sessions that are lovingly complementary to the original collection in their warm and low-slung house grooves.

Reflecting on Music For The Uninvited a decade on offers us a wonderful opportunity to celebrate Vynehall’s perennial talent within the modern electronic music landscape, offering a highly personalised glimpse into the early origins of his now singular style. While his output has transformed gloriously since its release, this reissue gives us a timely reminder of the immovable power of music from the heart.

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*2024 repress*

Leon Vynehall’s beautiful ambient, cinematic race car track now reconstructed for the dancefloor…Comes with an unreleased beat version on the A-side and the original version taken from Gerd Janson's "Music For Autobahns 2" on the flip.

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After the success of last year’s Fabric Presents compilation and sold-out take-over of the club in London, launch of his own label Studio Ooze with the Endless (I&II) (songs Resident Advisor hailed as “…among the best dance music he's ever made.”), and a widely lauded BBC Radio One Residency, Vynehall starts 2023 with the release of Rosebud, out March 24th as part of a double a-side offering slated for full release in the coming months. Speaking of the Rosebud, Vynehall says… “"After my Fabric Presents compilation I released Endless (I&II), and stated that I wasn't going to write 'out n-out' club music for a while. Well, it turned out I wasn't quite finished. I had a real hankering to make something that would make people banded in the same feeling – a joyful one. Different from what I have written before in its most basic emotiveness. More direct. Out came 'Rosebud'. It's a product of many positive moments and memories from seeing friends and peers play in the summer of 2022”

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Leon Vynehall follows his second album Rare, Forever that landed in many of 2021’s Best Album charts with a spot on the ‘fabric presents’ series. His mix bursts with exclusives from collaborators Skee Mask, Or:la, Gaunt, Avon Blume and Ehua, and his own ‘Sugar Slip (The Lick) that merges a garagey bassline with euphoric moments of 90s trance. The compilation opens with a spoken word introduction from Wesley Joseph, and proceeds effortlessly through ambient from artists Zebrablood and Newworldaquarium, hip-hop (from Wax), breakbeat, the dense dub of Mala and the Afro-Portuguese edge of house with tracks from Bubas Produçoes and A.k.Adrix. Vynehall displays his unique ability to weave together different genres and textures in a way that is technically fascinating while still warm and very listenable.


Tracklisting:
A1. Leon Vynehall - Sugar Slip (The Lick)
A2. Or:la - Allaballa
B1. Skee Mask - Untitled 279
B2. Ehua - Helios
C1. Avon Blume - South Bermo
C2. Gaunt - Raw Cartoon
D1. Piero Umiliani (Zalla) - Produzione
D2. Ana Roxanne - Suite Pour l’Invisible

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Debut album Nothing Is Still on black heavyweight vinyl.Plus accompanying Novella co-written by Leon Vynehall and 60 x 40 poster housed in a hard back box. Includes download code.
Following on from 2 critically acclaimed double EPs in Music For The Uninvited & Rojus, Leon presents his first album proper, expanding on his already well crafted sound to offer an exciting and immersive sonic journey. The album follows a multi layered and ambitious narrative inspired by Leon's grandparents emigration to New York, where they spent nearly a decade living throughout the 1960's.
The story is presented over four different mediums, Literature, Music, Film, and Photography, culminating with a live experience bringing each element together to form a modular and multi-faceted campaign.
As mentioned above, this is a multi-faceted campaign & accompanying the LP will be a Novella written by Leon & his friend. Inspired by the mood and feeling of each chapter of the Novella, Leon has composed music conveying the mood, emotion and flow of the writing which form sonic representations of the narrative. As a scene is set in the literature, or the mood and pace of a chapter changes, so does the music, so every shift in dynamics cleverly complements the writing.
In addition to writing, composing, playing and producing this album, Leon conducted a 10 piece string section headed by arranger and composer Amy Langley. Vynehall also called upon saxophonist and flautist Finn Peters, and jazz pianist Sam Beste to provide additional playing, all mixed with Blue May at the legendary Konk Studio.
The result is an album which displays Vynehall's growth and maturity as a musician and sees him release his first proper debut LP as a fully fledged artist.

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Repress!
Leon Vynehall makes his debut on the Clone Royal Oak Series with the already much anticipated track ''Butterflies''

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2025 Edition!

Part 2 of the Drexciya re-issue series! A new repress of the Journey Of The Deep Sea Dweller series by Drexciya!! It comes with new artwork by critically acclaimed American artist Ellen Gallagher.




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2025 Edition!

Part 4 of the Drexciya re-issue series! A new repress of the Journey Of The Deep Sea Dweller series by Drexciya!! It comes with new artwork by critically acclaimed American artist Ellen Gallagher.

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2025 Edition!

Part 1 of the Drexciya re-issue series! A new repress of the Journey Of The Deep Sea Dweller series by Drexciya!! It comes with new artwork by critically acclaimed American artist Ellen Gallagher, who created a series of paintings titled Watery Ecstatic, inspired by Drexciya's music - which she discovered while immersed in the mid-'90s New York techno scene. Now partly based in New York and Rotterdam, the connection was easily made. Her Watery Ecstatic series serves as the inspiration for the covers of this new edition of Journey Of The Deep Sea Dweller, with embossed artwork offering a tactile, physical complement to Drexciya's immersive sound world.
Drexciya needs no introduction for most - it's one of the most influential projects in techno history. But for some, this might serve as an entry point into their sonic universe and the broader (Detroit) techno culture. Their music emerged from a harsh environment, and it shows - raw, uncompromising, and boundary-pushing. Drexciya redefined Detroit techno like no one else. Their unique sound and mythical aesthetic made them a true cult phenomenon. Guided by Mad Mike Banks of Underground Resistance, their early releases were works of art in themselves. Drexciya stands for the darker, deeper edges of techno and electro - not just club music, but a profound extension of the mind and spirit. Twenty years after the release of Deep Sea Dweller (their debut), and ten years after Grava 4 (their final album), we've released Journey Of The Deep Sea Dweller - an almost complete collection of their early works, remastered from the original tapes. Since the original releases - on labels like Underground Resistance - had such a strong identity and still stand on their own, this reissue doesn't aim to recreate that magic. Instead, we've stirred up the catalogue, taking the tracks out of their original context to give the 'in-the-know' listener a fresh experience, and the new listener a perfect introduction to Drexciya's sonic universe. Enjoy the ride!

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Blawan releases his long-awaited debut XL Recordings album, SickElixir. Crafted between Berlin, Leeds, Paris, and Lisbon, the 14-track record is his most personal work to date; a manifesto for the way he sees
music and himself. Channeling grief, family trauma, and seismic life shifts, SickElixir expands on the sounds of his recent EPs - BouQ, Dismantled Into Juice, and Woke Up Right Handed - plunging listeners into a
chaotic yet meticulous sonic world that reflects on the past while projecting a bold vision for the future.

Jamie Roberts has been revered in electronic circles for years as an artist with a fastidious approach to creating his own sound, relentlessly drawing from his teenage influences growing up in Barnsley, a post-
industrial town in South Yorkshire. At 14, he started working on a maggot farm and credits the clanging sound of the farm’s industrial mincer as an early influence on his music. After playing in various metal bands,
Roberts’ musical horizons began to expand through visits to the West Indian Centre in Leeds, where he was introduced to the full spectrum of electronic music. He first emerged as Blawan at the turn of the 2010s with
EPs on cult labels such as Hinge Finger and Hessle Audio, earning widespread critical acclaim. He’s consistently experimented, pushing boundaries in his solo projects while collaborating closely with British
producer Pariah on several projects – the live techno act Karenn, the metal-inspired band Persher, and the label Voam. SickExlixir marks the next step in solidifying his position as one of contemporary music's unique, pioneering artists, operating firmly in a lane of his own.

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2025 Edition!

Part 3 of the Drexciya re-issue series! A new repress of the Journey Of The Deep Sea Dweller series by Drexciya!! It comes with new artwork by critically acclaimed American artist Ellen Gallagher.

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Drummer, percussionist and composer Valentina Magaletti (Moin, Holy Tongue, Vanishing Twin) has
combined forces with musician, producer and composer YPY (aka Koshiro Hino of Goat) for their LP,
Kansai Bruises.

The pair crash through Osaka’s neon-lit streets with abrasive drums and handcrafted Japanese electronics
that hit like pavement against skin. This is bliss carved from bruises—hope and fear tangled in metallic
percussion while dreams of pesto float through sake-soaked alleyways.

[Artwork: Will Bankhead]

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Mika Vainio's recordings from 1991-1992, mostly his blueprint tehno style but also some ambient tracks. This release was originally issued in 2006.

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Biosphere’s album The Way Of Time takes loose inspiration from Elizabeth Madox Roberts’ novel The Time Of Man, sampling Joan Lorring’s voice from the 1951 radio play adaptation of the novel. Biosphere’s signature ambient loops, soothing arctic synths and melodies combine with Lorring’s sweet, wistful and deep-south wonderings to create a record that is both deeply human and searching.


Tracklist:
A1 - Time Of Man
A2 - The Way Of Time
A3 - Like The End Of The World
B1 - All Stars Have Names
B2 - The Old Way Was Gone
B3 - The Way Of Time (On And On)

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Tracklist

A1. Part I
B1. Part II

(LP with obi strip, incl. booklet) A meditative, folk-inflected score rooted in improvisation, ‘Dragon’s return’ echoes the soul of A film long buried behind the Iron Curtain

With Dragon’s Return, Australian composer and multi-instrumentalist Oren Ambarchi and Norwegian guitarist Fredrik Rasten present a new, meditative score to Eduard Grecner’s eponymous 1967 Slovak cult film — a stark, black-and-white parable.

The album captures a unique live performance recorded at the Videodroom Festival during Film Fest Ghent in October 2024, where this new score premiered alongside the film in collaboration with the Slovak Film Institute. What began as a fleeting, improvisational encounter between music and image has since taken on a life of its own — an evocative sound world that retains its power even in the absence of visuals.

The album will be available on vinyl and all digital platforms from September 12 via VIERNULVIER Records. The vinyl edition includes an obi strip, a booklet with film stills, and extensive liner notes on the film.

The label is known for shedding new light on forgotten films through reimagined soundtracks — claire rousay’s acclaimed The Bloody Lady being the most recent example.

“Folklore meets avant-garde in an ancient drama - a ballad about love, hate and finding a way out of loneliness” - Rastislav Steranka (Slovak Film Institute)

Ambarchi and Rasten do not accompany the images so much as speak through them. Their interplay — on guitars, flutes, percussion, and voice — unfolds slowly, without a fixed destination, culminating in subtle, entrancing drones. With few breaks or ruptures, this trippy, folk-inflected continuous composition invites surrender.

Rasten’s 12-string guitar and delicate use of voice create layered textures that shimmer and shift. Ambarchi, known for his electro-acoustic work, here explores a radically softer mode — strumming, bowing and coaxing tones from his instrument as though it were a string section unto itself. He blows into shells, adding breath and texture to the sonic palette, touching on something elemental.

Together, they evoke a sound world that feels both ritualistic and strangely familiar — as if echoing from a forgotten ceremony or dreamed into being after hearing an old folk tale. Rooted in improvisation, the music speaks in tones both intimate and expansive, shaped live in dialogue with the film and with each other, with only minimal overdubs added afterward.




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