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Das neue Album "Pandemonium II: The Battle of the Underworlds" des norwegischen Gothic Industrial Metal Phänomens GOTHMINISTER setzt die Geschichte des Vorgängeralbums "Pandemonium I" fort. GOTHMINISTER aus Norwegen ist ein unbeschreibliches Phänomen. Ein Faktor dieses Faszinosums ist die einzigartige Mischung aus modernem Gothic Industrial Metal, tanzbaren EDM-Parts sowie einer Prise Retro-Charme. Weitere Faktoren sind sicherlich die beeindruckenden theatralischen Liveshows oder die aufwendigen Musikvideos, die bisher mehr als 30 internationale Filmpreise erhielten. Die Musik ist schneller und eingängiger als je zuvor, gleichzeitig aber auch komplexer und moderner geworden.
Als Digipak & limitierte transparente Vinyl erhältlich.

Nina Simone’s big break consisted of the recording made during her September 12, 1959 concert at New York’s Town Hall. The 1960 LP Nina Simone at Newport (recorded live at the Newport Jazz Festival on June 30, 1960, and included here in its entirety) was an attempt to repeat the success of that live album. It presents strong performances by Nina of “Trouble in Mind” and “You’d Be So Nice to Come Home To,” among others. Simone is accompanied by her regular rhythm section, consisting of Al Schackman on guitar, Chris White on bass, and Rob Hamilton on drums.

Soul Jazz Records’ Down Beat Special is a roller-coaster ‘greatest hits’ ride through many of the all-time classic tunes hand-picked from across the mighty vaults of, without doubt, Jamaica’s finest ever record label and pioneering powerhouse of reggae music. Seminal tracks such as Michigan and Smiley’s ‘Nice Up The Dance’, Dawn Penn’s ‘No, No, No’, The Wailers’ ‘Simmer Down’, The Eternals’ ‘Queen of the Minstrels’… and on it goes.

Non-stop BIG tunes. Down Beat Special is an essential primer to Studio One Records. Originally released as a one-off pressing limited edition (long-since deleted) 7” box set, this new edition is fully remastered and expanded to a massive 18 super rare and killer cuts from the Studio One empire. Featuring the Skatalites, Jackie Mittoo, Bob Marley & The Wailers, Horace Andy, Alton Ellis, Lone Ranger and many more, the album features rare and classic tracks throughout. Newly commissioned sleevenotes by Noel Hawks (History of the Jamaican Recording Industry) features a track by track historical and musical analysis, label scans and more added to this fantastic collection.

Producer extraordinaire and Italo legend Don Carlos, along with cherished London clubland phenomenon Gareth Cooke combined in 1997 to deliver two timeless HOUSE classics on one record that seen copies changing hands for £50 on a one-off label that totally makes sense when you hear them. Now on reissue label, NATSUKASHII, (a Japanese word that means happy nostalgia), you can get these ageless underground classics. Limited to 300 units.

Sleap-e is reclaiming herself. The Italian singer-songwriter’s second album, 8106, captures the spirit of play; the child-like instinct to pursue what you love without compromise - and here it is, that particular magic that rarely survives adulthood, remarkably intact. Each of its eleven songs are vibrant shards which build a mosaic of Asia Martina Morabito’s world: the growing pains of your early twenties, remaining faithful to your dreams despite the hostility of adulthood, places of escape both real and imagined - and the pulse of Bologna, her home and north star. As a student of old-school iconoclasts like The Fall and inspired by the outsider streak of Jimmy Whispers and Daniel Johnston, it was not any particular musical quality of theirs which Asia wanted to channel in Sleap-e, but their confidence to “explode in a raw, free and authentic way.” Though her sound has shifted from the tender bedroom pop of her 2020 EP Mellow and her 2022 debut album Pouty Lips which was bedecked with jubilant brass and Mediterranean rhythms, it’s her self-belief which endures. 8106 is Sleap-e’s most raucous, unpolished and playful offering to date, steeped in the influence of “egg-punk”, an internet-grown genre which seeks to satirise the tropes of punk with its danceable irreverence. There is joy to be found, Asia feels, in refusing to conform, and it has brought her closer to herself than ever before. But to gain her sense of self, first, she had to lose sight of it. Summer of 2023, when the outlines of the record were made, was a difficult time for her. 8106 was the number of the hotel room she felt confined to, alone and adrift from comfort when she was working away from home. Writing this album was her getaway car. “It represents an important choice I made,” she explains. “I chose happiness. I chose myself.” The title represents a kind of mental post-it note reminding herself to stay focused on what she loves; it’s a talisman to protect her from hard times. She returned home, and there she began recording the album in residency at the Bronson Club, a hive of like-minded creatives and mentors who helped it take its final form. At home, her own music was played freely and instinctively. The artwork for 8106 is by Noemi Vola, a prolific Bolognian illustrator and author who specialises in designs for children, which reflects the “funky, fairytale mood” of the record itself.

London-based rock duo, Yur Mum, is set to release their highly anticipated album, "Duality," on April 30, 2024. "Duality" serves as the sequel to their 2021 LP, "Tropical Fuzz," and encapsulates the band's essence as a fusion of contrasts – Female meets male, Europe meets South America, and rock meets Brazilian music. Anelise, the bassist and vocalist, expresses, "It's a total yin and yang. We're embracing our differences and blending them together to create something unique." The album features recent singles 'Say Say' and 'New Beginnings,' which gained recognition on BBC's 6 Music and Radio 1, along with Spotify editorial playlists. The duo's Brazilian roots are exposed in tracks like 'Hands To The Sky', 'Anhangá', ‘Café’, and ‘Snakes Don’t Fly’, featuring Myura Amara from PollyPikPocketz. In a bold move, Yur Mum has opted for an independent release, expressing pride in creating the album they envisioned. Collaborating with producer Alex Gordon, known for his work with bands like Tigercub and CLT DRP. "Duality" promises a wild mix of beats and melodies, rocking out with fuzzed-up riffs. Yur Mum's iconic bass and drums have levelled up, bringing an even bigger sound. Beyond the high-energy tunes, the band explores themes like faith, guilt, existentialism, mental health, toxic people, classism, and immigrant catharsis. The album cover, designed by Fabio Couto, portrays a fusion of the duo in an androgynous and striking composition. Fabio says it was captured “DIY style” with an old smartphone camera. Yur Mum, consisting of Anelise Kunz and Fabio Couto, stands out in the two-piece band scene with their distinctive Fuzz Punk Rock sound and South American influences. Live music enthusiasts can catch Yur Mum at various UK and European dates, including Rebellion, HRH Punk 4, IceBreaker, Raw Power Fest, Punktoberfest, Rock’n’Trolls, and Marchin Music Fest

Patt Todd & The Rankoutsiders die Underground-Rock'n'Roll-Ikonen aus Los Angeles sind in Höchstform mit einem neuen Album zurück. "Keepin' Chaos At Bay" ist ein genreübergreifenden Album von knurrendem 70er-Jahre-Punkrock, Country, Blues und Roots-Rock voller Hooks.

Jahrzehntelang hat Pat Todd die dunklen Ecken und hinteren Regale der Americana Thrift Stores durchforstet und einen außergewöhnlichen Sound daraus entwickelt. Das neue Album destilliert alles, was er im Laufe seiner Karriere darüber gelernt hat, in einer genreübergreifenden Dosis von knurrendem 70er-Jahre-Punkrock, Country, Blues und Roots-Rock voller Hooks, die mit Hirn und Herz vorgetragen werden. Während diese Erfahrungen schon immer die hymnischen Songs der Rankoutsiders kreiieren, kommen sie auf Keepin' Chaos at Bay in einem der härtesten und zugleich gefühlvollsten Alben von Todds Karriere voll zur Geltung, und niemand, aber auch wirklich niemand, spielt die Songs wie Pat Todd himself.

DISBELIEF’s new album’ Killing Karma’ once again underlines the band's singularity and their persistence to follow an unconventional way for more than 30 years against all resistance. DISBELIEF have grown into a very experienced band that has always kept an open minded spirit, yet remote from any mainstream connection, in order to further sharpen their Death Metal style with implacable conviction and dedication. A colossal, destroying, atmospheric, yet subtle wall of sound was conceived with this new album. The band invited two of the most unique singers in the German Metal scene on ‘Killing Karma' : Michelle Darkness (End of green) and Joschi Baschin (Undertow). They perform on some of the album songs : ’The Scream that slowly disappeared’ , ‘Flash of inspiration’ and the epic ‘Reborn’. DISBELIEF captivates the listener further with a special rendition of Killing Joke classic ‘Millenium’, shaping it into a very memorable remake which will surprise a lot of fans out there. Lyric wise, DISBELIEF vocalist Karsten ‘Jagger’ comments : "'Killing Karma' is a declaration of war to desperation, grief and helplessness, an unbelievable musical journey through the human soul threatening to break under the weight of life." DISBELIEF ’s new album ‘Killing Karma’ is a diversified, captivating , strength giving, crushing Death Metal monster !

- Iconic UK indie band Flowered Up, seen as London's answer to Happy Mondays and The Stone Roses, reissue their debut album 'A Life With Brian' remastered and ehnhanced via London Records.
- 2 x Vinyl edition also includes the 1992 cult epic 13 minute 'Weekender' song and the much sought after Andrew Weatherall remix, both for the first time added to the LP !
- The reissue follows a BFI documentary on the video of 'Weekender' and it's legendary status in UK club culture of the time
- The album remastering was overseen by Flowered Up keyboard player Tim Dorney.

Originally pressed in 2022, as a vinyl-only release, an edition of 100 fluorescent green 12” and sold exclusively at venues in the USA as part of Luke Vibert & Posthuman’s I Love Acid tour, never made available anywhere else. This second edition repress is in randomly assigned cobalt blue, solid orange vinyl, or split red/black with multiple differently coloured labels.

On the A side - Luke Vibert is “Still In Love” with acid lines & breakbeats here as a sequel to his classic anthem. “Android Webber” strips it back to pure 303, 808, and JX3P analogue action. On the flip, Posthuman opens with the fierce ravey electro of “Grad” before seeing on the 12” with some signature acid slo-mo chug in “Forever Circles”

Available on ltd edition white vinyl, only 300 pressed. Includes extended album download.

Ivan The Tolerable is the alter ego solo project of Middlesbrough based musical wizard Oli Heffernan. Aside from his solo work as ITT, Oli has played in numerous bands over the years including Year Of Birds, King Champion Sounds with members of the Ex, Detective Instinct, and Shrug, and has collaborated with icons like Mike Watts of the Minutemen, and J Mascis of Dinosaur Jr.

On Black Water/Brown Earth, Heff called in the help of his Dutch friends Mees and Elsa in King Champion Sounds again and wrote the album in a long-distance session. The album feels like an excursion in nature, featuring bird song, flowing water, pots and pans percussion, and a genuine feel of wandering about and experiencing the outside world with eyes and ears wide open. It is a band effort too, with organic sounding drums, the characteristic saxophone, and droning synths.

‘Elsewhere, gentle intonations of morning with almost childlike embellishments and rhythmic beats, and more flute, might lull and comfort but nothing ever sits exactly in time which might make this Ivan The Tolerable’s most frustrating album at times but also one of his most interesting to really delve into aurally. ‘Sawdust’ is another sonic interlude, little more than a purge of effects and ideas but in a place where effects and ideas are plentiful. However, it’s centrepieces ‘Seaweed’ and ‘Signs’ that provide the pulsing, grooving dual that makes the second half of Black Water/Brown Earth a sheer delight. The former being simply kind of folky with a bit of sitar but utterly immersive, the latter oddly upbeat with eastern vibes and tubular rhythms, combined it is nearly twenty minutes of serene experimentalism.
The shorter tracks are perhaps designed to temper the mood or counter and reflect the passage of time on an album of mostly structured improvisation, and it may only be closer ‘Memory’ that is truly free to roam musically, its long jazzy segments skipping off into the farthest corners of the left field’.

This Album is a collection of what I call Punk Art Poetry.
Poetry put together like a lyric to tell a certain story or explain a thought on some punk related matter. Some of these stories did actually turn themselves into a song which I released on my Punk Art imprint.

Most of these poems were influenced or inspired a piece of art I was working on.
Hope you like them or can relate to these stories.

Thanks for your indulgence

On the outskirts of Bratislava, in the pulsating shadows of a refinery's burning chimneys, on the plot of a family house, there stood a small shack. Initially, it housed trials in domestic mushroom growing. Later, after a makeshift acoustic touch-up - lining the walls with old cardboard egg cartons - it became a shelter for music. Sensitive, evocative, nostalgic, lo-fi music by a man named Cadillac Face.

Today we would probably use the term 'safe space', but back then it was (in Cadillac's words) kutica, a cubbyhole. He hid there from a world that ached. Here, Cadillac secretly smoked, sang, and composed. And tried not to go crazy from anxiety. He wrote music unlike anything during his time.

Here, he struggled. With sound (unable to adjust it to his liking), with instruments (which he couldn't bring himself to play), with the world (with which, understandably, he was at odds).

Cadillac Face was a man who didn't belong here.

He wrote and sang in English (in a post-socialist and early-capitalist Slovakia, when command of English was no matter of course); he also wrote in Slovak (blogs and diaries, which, due to a stream-of-consciousness and surrealist style, were as incomprehensible as they were immersive and intimate); gave advice to teenagers (to their quasi-banal questions on talking forums about relationships, life and adolescence, where they were often met with ridicule and mockery); he composed electronic and noise music (at a time when no one had a clue what the abbreviation DAW meant).

This Cadillac's compilation album is not aiming to compete with/replicate Noizy Days - a compilation of Cadillac's contributions to the project Noize Konspiracy. Underground compilations circulated through a local proto-social network. Borderline music without rules - open but often inaccessible. There, Cadillac contributed mostly with experimental-electronic compositions. Noizy Days was compiled by Ďuro Ďurček, one of the initiators of Noize Konspiracy. Both Ďuro and Cadillac have been dead for years.

Songs For The Trees is a selection from Cadillac's songwriting. The most intimate of his intimate recordings. Cadillac at his most fragile, brittle, and quiet. The most romantic, the most tormented, the most painful and direct of his songs I know.

Cadillac became an anthropomorphic grotesque tree. Neither broadleaf nor conifer. Or perhaps it's a candle slowly incinerating – bored, sad, playing the guitar. A tragicomedy. Sometimes it kindles what it doesn't mean to, and it can't put itself out. Or can it?

Jamie Tik Tok Taylor leaves us this parting gift of gnarly, 'avin it, upbeat Acid Techno, - his last EP signed before his tragic, untimely passing. 4 tracks of cheeky 303 fuelled rave malarchy from the true Anarchist Insider!!

Limited expanded 4 x LP Boxset edition, including 2 double gatefold records; one of the original album and one of remixes and rarities
Includes an exclusive 60 page hardback 12” x 12” book, documenting Orbital’s story and history Also features a 12” Slipmat, and 3 printed repro A6 flyers, randomly placed throughout the book

Here at Four Flies, we kind of feel we need a bigger word than 'proud', this time, to present, in collaboration with Beat Records, the first-ever release of the original soundtrack written in 1976 by Guido & Maurizio De Angelis for the legendary Squadra Antifurto, the second chapter of the comedy-infused crime saga directed by Bruno Corbucci and starring Tomas Milian as the iconic Italian Police Marshal Nico Giraldi.

The excitement in this case is nothing short of gigantic, difficult to rein in for those who, like ourselves, grew up adoring the character played by Milian as one of our cult heroes, and dreaming that the soundtracks of the first three films in the saga – the only ones composed by the De Angelis brothers – would one day be released.

Since the launch of our label, Squadra Antifurto has been at the top of the list of film scores we most wanted to release. Until a few months ago, this dream of ours seemed destined to remain just that, so strong was the conviction in all of us that the master tapes were definitively lost, that they had forever vanished into thin air. That's why their recovery, made possible by Maurizio De Angelis himself and the persistence of our friends at Beat Records, is an extraordinary feat.

Nearly 50 years after it was first heard in cinemas, the soundtrack penned by the De Angelis brothers is resurrected in its entirety and can finally shine its incredible power all over us.

Beautifully seeping through this score – like many others composed by the golden duo in the 1970s – are elements from the Italian, and especially Roman, folk tradition, for instance in the warm, heartfelt ballad sung by Alberto Griso, "E nun ce voio sta," which first plays in the opening credit sequence and is then reprised in various forms throughout the film, culminating with the soul-stirring orchestral version that closes the album's tracklist.

But as in any Italian crime film worthy of that name, a different soundscapetakes centre stage: it's the music that accompanies the countless scenes of tension, action, and pursuit that punctuate the film, and which has made us fall madly in love with this score.

The main theme is a prog-funk joyride, drawing inspiration from the traditional tarantella but elevated to irresistible energy thanks to a rock orchestration featuring psychedelic flutes, wild percussion, distorted electric guitars, piano chords, and various feedback and delay effects.

The resulting groove is just mind-blowing, and we almost can't believe it's finally available on a record, completely remastered for vinyl.

We really couldn't be prouder, and dedicate this release to all passionate fans of Italian crime films, the De Angelis brothers, and Tomas Milian aka Nico Giraldi.

Available starting April 12th on standard black vinyl and limited coloured vinyl (transparent amber, limited to 300 copies).

The second studio album from UK Alternative artist Cosmo Sheldrake. Following 2018's "Much Much How How And I" which has sold over 100,000 units globally and embarked 250m streams on DSPs, Cosmo continues to take the listener onto a journey into his musical world with a brand new 21 song release.

Eye To The Ear by Cosmo Sheldrake, released 12 April 2024.

This version of Eye To The Ear comes as a 2xLP in a(n) Gatefold Sleeve packaging.

Twentysix artists, lots of wine and pizza, no agenda. This compilation is a collection of vibes and memories from our PLYGRND Beat Retreat in Tuscany, Italy, wrapped in songs. Featuring tracks by Kiefer, Sara Kawai, Flozigg, Adia, Kaelin Ellis, Molly McPhaul, Burrito Eats, DAO, Desh, Dhanya, Elaquent, Elijah Fox, Glimlip, Joe Bae, K Le Maestro, Louk, Mad Keys, miamore, Miri, Nokiaa, Paul Grant, DEOVI, Relyae, Saltyyyy V, Sebastian Kamae, and Tom Doolie. Driving up a hill lined with pine trees and grapevines, arriving at a beautiful arrangement of terracotta colored houses embedded in an unreal scenery made of grapevines and verdurous greens. Roaming this area, worrying about nothing but the day that lies ahead. Bumping into fellow creatives who share the same passion for music and art. Collaborative energy coming out of this; exploring new sounds with new souls. You capture yourself getting lucky, and think to yourself: Don’t take it too seriously, it’s not that deep. But also, make some beautiful stuff, if you can. This year's compilation is a testament to the rich diversity of talent on display. The PLYGRND Beat Retreat Compilation 2023 is not just a collection of tracks; it's a celebration of the artists who brought their A-game to our event. Get your hands on this exclusive gatefold-vinyl, and immerse yourself in the sounds that defined the PLYGRND Beat Retreat 2023. Limited edition, high-quality, and a must-have for any music enthusiast.

Woodwurk Records brand new 12” ’Toilet Breaks’ enters the scene in the wake of the insanely popular ‘Porta Bill’ and ‘Disc Jock’ scratch 7”s.

The raddest, rudest record in the racks, ’Toilet Breaks’ brings toilet humour to your turntables!

Combining and improving upon the best samples from the ‘Porta Bill’ and ‘Disc Jock’ 7”s, each side contains 10 regular speed skip-proof phrases, 5 ultra-pitch phrases, full sentences and ends with a percussive lock-groove click-track for use in turntables jams.

Pressed on light blue vinyl and mastered at the world renowned, Air Studios, this record sound AND looks dope! It’s stylistic nod to the classic GPK cards features artwork from Dusty Pixels and DJ Woody. ‘Toilet Breaks’ serves up slap-stick samples for your scratch session!


• Light Blue vinyl
• Produced by 2 times World Champion DJ Woody
• Side A programmed at 100 bpm, side B programmed at 83.33bpm
• 30 skip-proof scratch phrases, including ultra-pitch, full sentences and lock-grooves
• GPK parody artwork by Dusty Pixels and DJ Woody