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Es gibt ein altes Klischee über den letzten Tag der Sommerferien: dass er den Zugang zu endloser, müheloser Freude symbolisiere. Aber so ist es in Wirklichkeit gar nicht. Frag einfach Payson Power, den Gitarristen und kreativen Kopf hinter der Torontoner Band Daydream Plus. ,Als ich aufwuchs und einen Film sah, der am letzten Tag des Sommers spielt, dachte ich immer: ,Du bist schon beim deprimierenden Teil angelangt!` Der schöne Teil ist der vorletzte Tag des Sommers, denn das ist der letzte Tag, an dem man noch ohne Konsequenzen leben kann." Dieser Moment, in dem man noch Filme schauen und Videospiele spielen kann, bis die Sonne aufgeht, inspirierte Power dazu, das erste Album von Daydream Plus mit dem Titel ,Second Last Day of Summer" zu schreiben. Was diesen Tag so schön macht, ist, dass man unbewusst weiß, dass alles bald zu Ende sein wird. Nachdem er sein Leben lang Heavy Metal gespielt hatte, gründete Power 2020 Daydream Plus, um melodische, eingängige Kompositionen zu erkunden und Einflüssen nachzugehen, zu denen er zuvor nur in kurzen Momenten Zugang gehabt hatte. Nach zwei EPs, auf denen sich das Trio aus Toronto in der schmalen Schnittmenge zwischen komplexem Math-Rock und urbanem City-Pop bewegte, erweiterte Power langsam seinen Horizont. Mit Elementen aus Videospiel-Soundtracks, energiegeladenen Anime-Melodien und Akkorden, die direkt aus dem Songbuch von Steely Dan stammen, erschafft Daydream Plus auf ,Second Last Day of Summer" eine detailreichere Welt. Unterstützt von Powers Bandkollegen von Tomb Mold, dem Schlagzeuger Max Klebanoff und dem Bassisten Kevin Sia, arbeitet das Trio daran, den Geist von Don Caballero aufzunehmen und ihn mit einem Hauch von Smooth Jazz zu überziehen.

The second full-length album from Simon Herody - French born, Berlin based multi-instrumentalist and composer. Featuring the visual universe of Paul Waak.

Water from Mars retraces the imaginary odyssey of a near-future conquest of space - a sonic journey conceived as a soundtrack for the imagination. Blending acoustic and electronic instruments, Herody navigates between sci-fi jazz, left-field ambient dub, space lounge, and 4th world music, crafting a world where melancholy and forward-thinking curiosity coexist in weightless suspension.

Indulgent, textured, and uncompromising - for fans of glitchy synthesizer textures, cinematic atmospheres, and music that refuses easy categorization.

Formed in late 1991, Undertakers are among the longest-running and most uncompromising bands of the Italian extreme underground. This album marks the most mature chapter in the band's history. It is where everything finally locks into place: grindcore violence, hardcore urgency, death metal weight, and sharp black metal edges fused into a modern sound that never betrays its old-school DNA. No nostalgia trip, no trend-chasing-just experience, control, and intent. The record is built on contrast: precision versus chaos, speed versus crushing mid-tempos, modern production versus a raw, uncompromising attitude. Every track serves a purpose, every riff hits with direction. This is a band that knows exactly who it is and has nothing left to prove.

Formed in late 1991, Undertakers are among the longest-running and most uncompromising bands of the Italian extreme underground. This album marks the most mature chapter in the band's history. It is where everything finally locks into place: grindcore violence, hardcore urgency, death metal weight, and sharp black metal edges fused into a modern sound that never betrays its old-school DNA. No nostalgia trip, no trend-chasing-just experience, control, and intent. The record is built on contrast: precision versus chaos, speed versus crushing mid-tempos, modern production versus a raw, uncompromising attitude. Every track serves a purpose, every riff hits with direction. This is a band that knows exactly who it is and has nothing left to prove.

Newly signed to EMI Records, seven-piece boyband December 10 are ushering in a new era in pop music. Formed on camera during Netflix’s Simon Cowell: The Next Act (released globally on 10 December 2025), the hugely fun, utterly joyful, incredibly charismatic, often rambunctious and completely endearing group consist of Cruz (20), Danny (17), Hendrik (19), John (17), Josh (17), Nicolas (17) and Seán (19).

Within weeks of the series airing, the pace was relentless. December 10 sold out their Introducing! run of live dates across the UK and Ireland, adding extra shows twice in response to demand before all 13 dates sold out within minutes; built a huge online following, with millions of followers across social media; and released their debut single “Run My Way” on 30 January 2026.

Since then, the band have released the singles “Infinity (123)” and “Angel”, landed in the Official UK Top 10 best-selling vinyl singles of 2026 so far, and made their festival debut at Ultra Teens Fest Japan, performing to a crowd of more than 12,000 fans.

Summer 2026 will see December 10 embark on their headline UK and European tour, December 10: The Next Step, (which kicks off in Amsterdam on 26 June and wraps up in Dublin on 21 July,) release their debut EP, On Your Side, on 10 July, and make appearances at Summer Sonic Festival in Japan and Reading & Leeds Festival in the UK.

They’re not just brilliant singers, but accomplished musicians too, playing 14 instruments between them: Nicolas plays guitar and harmonica; Danny plays guitar; Josh plays guitar, cajón and drums; Hendrik plays guitar, bass and piano; Seán plays guitar, piano and harmonica; while John was due to take Grade 8 clarinet and piano this year - until life got a bit busy.

December 10 are very much a boyband for our times: a truly inclusive group representing Chorley, Rochester, Dublin, London, Lisbon and Walsall, with Irish, Brazilian, Indian, Nigerian and Jamaican heritage between them, and musical influences that are just as expansive.Pre-order our debut EP ‘On Your Side’ now!

Get your hands on the new mint green vinyl!

Mint Green Vinyl with printed inner lyric sleeve

2026 Repress

Native Call explores the roots of ancient Latin America, weaving five hypnotic tracks inspired by the myths and mysticism of the Maya civilisation. Each piece is a fragment of Maoh's universe; a world where past and present collide, evoking sacred rituals, celestial beliefs, and the hidden lore of a lost era.

Deep rhythms and haunting atmospheres guide the listener through a soundscape where ancient traditions meet contemporary electronic expression.

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

Legendary lyricist AZ returns with Doe Or Die III, the long-awaited next chapter in one of hip-hop’s most revered album series, Doe Or Die III delivers polished production, razor-sharp storytelling, and the timeless sophistication that has defined AZ’s career.

Blending classic East Coast grit with modern finesse, Doe Or Die III features standout collaborations and lush, cinematic beats that complement AZ’s signature smooth delivery alongside features from Nas, Jadakiss and more. A must-have for collectors and fans of elite lyricism.

Eddy Current Suppression Ring make a surprise return with their sixth album In Light of Recent Events. True to form, it finds the disinterested careerists sidestepping expectation and working on their own terms, in their own time. Dialled in through closed-door weekly jams across 2025, that pent-up energy has only leaked via pseudonym-billed small-room shows as Jimmy and the Ringtones and Top Hats, record shop in-stores and country detours, plus a pair of phantom straight-to-YouTube singles (‘Swimming Hole’ and ‘Hard To Be Moved’), each with accompanying films by Chris Middlebrook and Amiel Courtin-Wilson respectively.

Modern-day anxiety and human disillusionment press through the album’s darker, more politically aware subject matter, as suburban melodramas and tender, hard-hitting reflections articulate everything you’ve never been able to. Taped within the band’s signature close-quarters claustrophobia, Brendan Suppression purges his dome with a newly awakened vocal range, while riff savant Eddy Current bleeds through quicksilver, blood-raw scratches, cut against the tension-wound, locked-in low end of Danny Current and Rob Solid.

Mit Alone Together liefern Show Me The Body das bislang stärkste und ambitionierteste Album ihrer
Karriere. Nach über einem Jahrzehnt, in dem sie ihre Community und kulturelle Relevanz konsequent auf
eigenen Wegen aufgebaut haben, markiert dieser Release einen klaren Durchbruchsmoment. Alone Together entstand in Zusammenarbeit mit Kenneth Blume III (fka Kenny Beats; u. a. Geese, IDLES, Denzel
Curry, Provoker) sowie Klaus Åhlund (u. a. Robyn, Ghost) und hebt Sound und Produktion der Band auf
ein neues Level.
In den drei Jahren seit dem letzten Album Trouble The Water hat sich insbesondere ihre Live-Präsenz
deutlich weiterentwickelt. Die 2023er „World War Tour“ – von Stereogum als „a true phenomenon“ bezeichnet – hat neu definiert, wie Hardcore-Shows heute aussehen können, und prägt die Szene bis heute.

Die britische Indie-Pop Sängerin und Songwriterin Suki Waterhouse ist zurück mit ihrem dritten Album
„Loveland“. Bekannt für den „dream pop“ Sound ihrer beiden Vorgängeralben sowie ihre Arbeit als Model
und Schauspielerin, überzeugt das Multitalent mit ihrem genreübergreifenden Sound zwischen Pop, Indie
und Alternative.
Mit „Loveland“ präsentiert Suki Waterhouse ihr bisher stimmigstes und zugleich persönlichstes Werk. Es
ist ein Album, das von Selbstfindung, Transformation, Mutterschaft und der Rückkehr zur eigenen Identität
erzählt. „Loveland“ enthält 14 neue Songs, die gemeinsam mit einigen Größen der Musikszene – darunter
Amy Allen, Aaron Dessner und Joel Little – geschrieben wurden, und beleuchtet die Distanz zwischen dem,
was einmal war und dem, was gerade wird.
Mit weltweit über 1,5 Milliarden Streams hat sich Suki Waterhouse als feste Größe und als eine der spannendsten Stimmen im Indie-Pop etabliert. Nach den Erfolgen ihrer von der Kritik gelobten Alben „I Can’t
Let Go“ (2022) und „Memoir of a Sparklemuffn“ (2024) hebt sie mit „Loveland“ ihren Sound auf ein
neues Level und unterstreicht ihren Status als vielseitige Künstlerin mit unverwechselbarer Stimme.

Mit seiner Band Ubiquity (was so viel wie “Allgegenwärtigkeit” bedeutet) schlug der amerikanische Vibrafonist Roy Ayers Anfang der 1970er Jahre ein neues musikalisches Kapitel in seiner Karriere auf. “He’s
Coming” war 1972 bereits das dritte Album, auf dem der ehemalige Bebopper mit seiner Band ein unwiderstehliches Gebräu aus jazzigen Improvisationen, Funk-Rhythmen, Soul-Harmonien und spiritueller Tiefe bot.
Dieser Sound sollte Ayers Werk während des gesamten Jahrzehnts prägen und ihn später zu einer Inspirationsquelle für Soul-, Funk-, Hip-Hop- und Neo-Soul-Künstler machen.

“Listen to Art Farmer and the Orchestra”, 1962 aufgenommen und im folgenden Jahr bei Mercury veröffentlicht, gilt als eines der ambitioniertesten Werke von Art Farmer. Der Trompeter und Flügelhornist, der
bereits brillante Aufnahmen mit von Quincy Jones, Benny Golson und Chico O’Farrill geleiteten Big Bands
gemacht hatte, präsentiert sich hier an der Spitze eines großen Ensembles unter der Regie von Oliver Nel-son. Das abwechslungsreiche Repertoire, das unter anderem Stücke von Billy Strayhorn und John Coltrane
enthält, wurde von Nelson gewohnt raffniert arrangiert und gibt Art Farmer reichlich Gelegenheit, als Solist
vor dem Orchester zu glänzen.

Mit fantastischer Stimme, beinahe 2 Millionen Followern in den sozialen Medien, einem weltweiten Tourneeplan
und bereits drei Studio-Alben bringt die 27-jährige Stella Cole einem jüngeren Publikum die Klassiker aus
Jazz und dem American Songbook nahe. Ihr erstes Live-Album nahm sie jetzt in einem ebenso legendären
wie intimen New Yorker Cabaret-Club auf, wo schon Größen wie Eartha Kitt, George Shearing und sogar
Woody Allen auf der Bühne standen.
”Live at Café Carlyle” zeigt Stella Cole gefühlvoll, strahlend und swingend mit ihrem Trio und einer brillanten Auswahl an Klassikern aus Filmen und Musicals, von ”He’s a Tramp” über ”Anything Goes” bis
”Perhaps, Perhaps, Perhaps”.

Mick Goodrick (1945–2022), den das Magazin DownBeat in seiner Rezension dieses Albums als „technisch
einen der besten Gitarristen überhaupt“ pries, war ein subtiler Meister der Gitarre und ein ebenso zurückhaltender Komponist – beide Qualitäten treten auf dieser einzigen ECM-Aufnahme unter seinem eigenen
Namen deutlich hervor. Der Pianist Fred Hersch nannte ihn „den Gitarrenflüsterer“, während John Scofield
bemerkte: „Ich durfte mit Mick spielen, was eine wertvolle Lernerfahrung war – ganz abgesehen davon,
dass es Spaß gemacht hat. Ich liebe sein ECM-Album In Pas(s)ing – ein besonderes Werk, das auch heute
noch relevant klingt.“ Für In Pas(s)ing wurde der Gitarrist, der maßgeblich zu Gary Burtons erfolgreicher
ECM Albumserie der 1970er Jahre beigetragen hatte, von hochkarätigen Begleitern unterstützt: John
Surman, hier überwiegend am Baritonsaxophon zu hören, Bassist Eddie Gomez sowie Schlagzeuglegende
Jack DeJohnette. In weit-offenem, lyrischem Zusammenspiel entfalten die vier Improvisatoren eine leiseeruptive Session voller filigraner Interaktion und heimlich einprägsamer Melodien. Das Magazin Melody
Maker bezeichnete Goodrick in seiner Rezension von 1979 als einen „Komponisten und Bandleader, der
seiner Musik erlaubt an Ort und Stelle anmutig Pirouetten zu drehen“, und führte weiter aus: „Unter den
gegenwärtigen Gitarristen der ECM-Schule scheint er die gelungenste Verbindung von Tradition mit einer
modernen Konzeption zu besitzen. Modisch unaufdringlich versieht er die Musik dennoch mit einer unverwechselbaren Handschrift – durch seinen kühlen, singenden verstärkten Ton, sparsam eingesetzte, aber
feste Hintergründe und das wunderbare Zusammenspiel mit Surman.“ Auch die Mitmusiker würdigte der
Artikel ausdrücklich: „Dies ist jedenfalls eine der besten Aufnahmen Surmans seit Jahren. Natürlich sind
Gomez und DeJohnette entscheidend für den Erfolg der Platte – der Vorwärtsdrang, den sie erzeugen, ist
beinahe übernatürlich diskret, aber absolut real.“ Das Album wurde im November 1978 im Talent Studio
in Oslo aufgenommen und von Manfred Eicher produziert.
Im Rahmen von ECMs Luminessence Reihe neu aufgelegt, erscheint In Pas(s)ing in einem hochwertigen
tip-on Klappcover mit neuen Linernotes von Joel Harrison sowie Photographien aus dem Archiv.

In der Realverfilmung des Oscar®-nominierten Animationsabenteuers folgt Vaiana dem Ruf des Ozeans und
wagt sich zum ersten Mal über das Riff ihrer Heimatinsel Motunui hinaus. Gemeinsam mit dem berühmtberüchtigten Halbgott Maui begibt sie sich auf eine abenteuerliche Reise über die Weiten des Meeres, um
die Zukunft ihres Volkes zu sichern. „Vaiana“ entstand unter der Regie von Emmy®- und Tony Award®-
Gewinner Thomas Kail („Hamilton“). Zuschauer können die beeindruckenden Bilder, Klänge und Songs
von „Vaiana“ ab 9. Juli 2026 exklusiv in den Kinos erleben.
Die Vinyl erscheint am 10.Juli 2026

Das Debütalbum „Thin Lizzy“ der irischen Rockband Thin Lizzy erschien am 30. April 1971. Im August
desselben Jahres folgte die EP „New Day“, produziert und aufgenommen von Nick Tauber in den Decca
Studios.
Diese Deluxe-CD- und LP-Veröffentlichungen zum 55. Jubiläum von Thin Lizzys Debütalbum enthalten
Raritäten, BBC-Sessions und bisher unveröffentlichte Musik Richard Whittaker hat einen neuen Stereo-Mix
des Albums erstellt, der auf der CD sowie in den 2-LP-Versionen enthalten ist.
Die 4-LP-Version enthält das Album sowie drei CDs mit seltenem Material, von dem einiges zum ersten Mal auf Vinyl erscheint.
Auf dieser LP haben Thin Lizzy alles in ihre Musik gesteckt und sind dabei Risiken eingegangen. Die
LP ist leidenschaftlich, energiegeladen und unverwechselbar. Die 3-CD-Version enthält ein Blu-ray-Boxset
sowie ein Hardcover-Buch mit ausführlichen Liner Notes von Mark Blake von Mojo und Erinnerungsstücke.

Das Debütalbum „Thin Lizzy“ der irischen Rockband Thin Lizzy erschien am 30. April 1971. Im August
desselben Jahres folgte die EP „New Day“, produziert und aufgenommen von Nick Tauber in den Decca
Studios.
Diese Deluxe-CD- und LP-Veröffentlichungen zum 55. Jubiläum von Thin Lizzys Debütalbum enthalten
Raritäten, BBC-Sessions und bisher unveröffentlichte Musik Richard Whittaker hat einen neuen Stereo-Mix
des Albums erstellt, der auf der CD sowie in den 2-LP-Versionen enthalten ist.
Die 4-LP-Version enthält das Album sowie drei CDs mit seltenem Material, von dem einiges zum ersten Mal auf Vinyl erscheint.
Auf dieser LP haben Thin Lizzy alles in ihre Musik gesteckt und sind dabei Risiken eingegangen. Die
LP ist leidenschaftlich, energiegeladen und unverwechselbar. Die 3-CD-Version enthält ein Blu-ray-Boxset
sowie ein Hardcover-Buch mit ausführlichen Liner Notes von Mark Blake von Mojo und Erinnerungsstücke.

French quartet Mourir are preparing to release their second full-length studio album, Nous, le venin, this summer via Pelagic Records. Their forward-thinking take on black metal and uncompromising approach to their work marks them out as ones to watch when they present this new material live at festivals across Europe including Hellfest, Rock In Bourlon and Resurrection festival in the months to come. With a demo, an album and an experimental EP to their name, the four-piece retreated to the studio at the end of 2025 to write the music for Nous, le venin. Recorded in January 2026 with Amaury Sauvé (Birds in row, Igorrr, Pneu) at The Apiary Studio in Laval, France, the six tracks are the very embodiment of Mourir's approach to black metal. Although they draw inspiration from many artists in the old-school black metal world, they opted to lean into a more modern sound - one that would allow the depth of their sonic choices to shine. Blending elements of sludge and post-metal to the rawness of their black metal sound, and combining this with a mix that gives space to both the low frequencies and the high-octane viscerality, Mourir have created something both distinctive and captivating. Thematically, the band turns their detached gaze towards an ever-more untethered modern society, one that is inhospitable to those seeking meaning in the cruelty and absurdity of a seemingly senseless world. Yet within these tracks exists slivers of light, of hope and of luminosity - a belief that something better is possible is woven throughout the melodic passages and most celestial, ecstatic elements of their sound. The evocative cover art by Thomas Davezac captures the feeling of disconnection that permeates the album. Mourir have recorded an album that cements their place among underground greats who deftly eschew the nostalgic trappings of black metal convention and breathe new life into the genre. Nous, le venin is imbued with raw emotion that is perfectly complemented by stylistic choices that echo the sentiment of being freed from the chains of the past. FFO Ultha, Fluisteraars, Envy and Neurosis

French quartet Mourir are preparing to release their second full-length studio album, Nous, le venin, this summer via Pelagic Records. Their forward-thinking take on black metal and uncompromising approach to their work marks them out as ones to watch when they present this new material live at festivals across Europe including Hellfest, Rock In Bourlon and Resurrection festival in the months to come. With a demo, an album and an experimental EP to their name, the four-piece retreated to the studio at the end of 2025 to write the music for Nous, le venin. Recorded in January 2026 with Amaury Sauvé (Birds in row, Igorrr, Pneu) at The Apiary Studio in Laval, France, the six tracks are the very embodiment of Mourir's approach to black metal. Although they draw inspiration from many artists in the old-school black metal world, they opted to lean into a more modern sound - one that would allow the depth of their sonic choices to shine. Blending elements of sludge and post-metal to the rawness of their black metal sound, and combining this with a mix that gives space to both the low frequencies and the high-octane viscerality, Mourir have created something both distinctive and captivating. Thematically, the band turns their detached gaze towards an ever-more untethered modern society, one that is inhospitable to those seeking meaning in the cruelty and absurdity of a seemingly senseless world. Yet within these tracks exists slivers of light, of hope and of luminosity - a belief that something better is possible is woven throughout the melodic passages and most celestial, ecstatic elements of their sound. The evocative cover art by Thomas Davezac captures the feeling of disconnection that permeates the album. Mourir have recorded an album that cements their place among underground greats who deftly eschew the nostalgic trappings of black metal convention and breathe new life into the genre. Nous, le venin is imbued with raw emotion that is perfectly complemented by stylistic choices that echo the sentiment of being freed from the chains of the past. FFO Ultha, Fluisteraars, Envy and Neurosis

Debut EP (1969) by the legendary Bolivian band Climax, recorded during their hard rock period, before evolving their sound toward progressive rock a few years later with the release of their well-known album "Gusano mecánico". Includes versions of 'Born to Be Wild' by Steppenwolf, 'Fire' by The Jimi Hendrix Experience, and 'Sunshine of Your Love' and 'Tales of Brave Ulysses' by Cream. On October 7, 1974, the now-historic "Gusano mecánico" was released - the only full-length album by the legendary Bolivian rock band Climax. Founded in 1968 from the remnants of the disbanded Los Black Byrds and the unrealized project The Turtles, Climax was formed by guitarist José "Pepe" Eguino and bassist Javier Saldías, who developed a strong bond with drummer Alvaro Córdova, cemented by their shared passion for rock. Together, they embarked on a journey of self-discovery, spending several months in the United States during a crucial period straddling the end of the Summer of Love and the lead-up to Woodstock. This period, perhaps the most significant of the 1960s Bolivian countercultural movement, saw an explosion of artistic expression driven by dissatisfaction with the society that the youth had inherited from their parents. Within this context, the influence of iconic bands such as The Jimi Hendrix Experience, Cream, Blue Cheer, and Emerson, Lake & Palmer played a pivotal role in their decision to return to Bolivia and form the country's first 'power trio'. Their early EPs paid tribute to their musical heroes. The first of these is titled "Born to Be Wild" (1969), including versions of 'Born to Be Wild' by Steppenwolf, 'Fire' by The Jimi Hendrix Experience, and 'Sunshine of Your Love' and 'Tales of Brave Ulysses' by Cream. Recording covers was completely normal at the time and was also their way of learning the musical language. It's worth noting that the term "cover" did not carry the meaning it has today; back then, the main goal was to spread the music and bring it to a wider audience. First time vinyl reissue.

First time double-cassette reissue of 1987's double LP opera rock by Spain's legendary punk band Eskorbuto. "Los demenciales chicos acelerados" is a political satirical work against any kind of dictatorial regime. "Los demenciales chicos acelerados" is Eskorbuto's fourth studio album, originally released by Discos Suicidas in 1987. It was their most ambitious project, a double LP rock opera in the vein of "Quadrophenia" by their beloved The Who. It tells the story of an unscrupulous young man who wishes to achieve power at all costs, stepping over everyone and everything in order to do whatever he wants politically. In the end, he falls due to his ego and is betrayed by those around him. Hence lines such as "crowds are a nuisance", "I'll come unscathed out of the attacks planned by my image consultant" or "shouting in front of the scum". In 1988 band members Iosu and Juanma narrated the album's concept and story on a Radio Euskadi show, the Basque Country's public broadcaster. This satirical political plot also explains the controversial sleeve art, Eskorbuto were equalling the unprincipled politician of their rock opera with the Nazis and Franco's dictatorship. It's a conceptual record that attacks any kind of dictatorial political regime. The original sleeve caused some trouble, to say the least, with its combination of Nazi photos and the Spanish flag on the back accompanied by the words "Of national interest". lthough "Los demenciales..." came out on Discos Suicidas, in typical Eskorbuto fashion the band stole a copy of the master and sold it to the Twins label, which also released it a few months later with new cover art.The album contains new versions of a few previous tracks such as 'Ratas rabiosas' and 'Enterrado vivo' plus the studio version of 'Más allá del cementerio'. For the recording the band enrolled keyboardist Aitor Amezaga, who would also collaborate on their next album.

The Bug and Ghost Dubs relentlessly probe and atomize original material culled from Kevin Richard Martin's critically acclaimed 'Sub Zero' album. ("Monolithic and unforgiving, even by the Bug's standards, representing his most suffocating take on ambient dub yet." Pitchfork). Remixed to punish sound systems and freeze up the dance, both Fiedler and Martin trade fresh, contrasting blows, after their recent IMPLOSION face off album on PRESSURE last year. (Dub/Reggae album of the year, 2025, in 'The Wire') The resulting 4 remixes are every bit as hypnotic and persuasive as you would hope for from productions fresh out the soundlabs of Michael Fiedler aka GHOST DUBS and Kevin Richard Martin under his dancefloor destroying Bug alias. Both producers intensify the desolate mood of the originals but introduce demolition inducing beats which provide the literally irresistible momentum. Echoes of the originals are respected and heard throughout, but the extra gear shifts pay off brilliantly. Guaranteed to push serious air, and test the most powerful of sub woofers, these 4 remixes vary from heavy to superheavyweight. i.e. GHOST DUBS outputs a deliriously stoned headnod with his zonal refix of 'When I'm Gone', which miraculously sounds both subtley mysterious, but monolithically huge, whilst The Bug prowls ice cold, on the noirish, narcotic, instrumental hip hop of 'Too Human', which sounds like prime Mobb Deep mixed by Rhythm & Sound' at 16 bpm. Essential remixes of an already very special album, the original atmosphere is not only captured expertly, it is categorically amplified. LARGE.

2026 Repress

A (new) vinyl version for one of our favourite Mika Vainio (Pan Sonic) albums; originally recorded between 1999–2004 and issued on CD only under his revered Ø alias for Finland’s Sähkö Recordings in 2005.

»Kantamoinen« is perhaps the most intimately beautiful yet little-known LP in the Ø canon, bridging the gap between his classic ’90s minimal techno productions and the project’s subsequent turn to more ambient, kosmic, and dubwise dimensions in the coolly brilliant »Oleva« and »Konstellaatio« albums.

Dedicated to Mika’s grandma, Laina Vainio (1913–1991), and adorned with a cover image of her garden in Artjärvi, Finland, the 16-part 2LP is the closest you’ll get to a type of nostalgia in Mika’s catalogue.

Whilst recorded 1999–2004 at an early crest of his game-changing work with Pan Sonic, the album clearly manifests a quieter space for Mika to emote far more nuanced feels, from the wide-eyed vastness of »Galaxy« to a breathtaking »Sound Picture«, transitioning from Hans-Ulrich Obrist’s snippet of Oskar Sala into icy bliss, and the rosy warmth of »Summerland« clearly dedicated to his nan’s garden. The rest is better defined as ephemeral snapshots adding up to a broader picture, like a mind’s eye filling gaps in the memory from illusive vapours and sensations, generating all-time gems in the steepled choral synth voice of »In Wind«, or a sense of magic realism in the swaying organ of »Antenna-ant«, with the blooz folk wheeze of closer »To Home« that could feasibly score the most haunting moments of a Béla Tarr flick.

Between her elaborately conceptual Drag City singer-songwriter albums and celebrated soundtracks for Ryusuke Hamaguchi, in recent years Eiko Ishibashi has quietly self-released a significant body of solo and collaborative work on her Bandcamp page. At times resembling her solo live performances in their organic interweaving of instrumental, electronic, and concrete sounds, each of these less feted online releases offers a snapshot of the experiments always underway at Atelier Eiko. Some Fine Legacy is pleased to announce a vinyl edition of one of the most intriguing of these works, Gasping_Sighing_Sobbing, made in collaboration with Hiroshi Minami and first released in 2021.

Active since the 1980s, Hiroshi Minami is a key figure in the Tokyo jazz scene, as well as a respected memoirist. Devoted to the great standards, which he explores with an Evans-ish delicacy of touch and Impressionist harmonic extensions, he is equally at home working up variations on tunes by Ryuichi Sakomoto and The Beatles or experimenting with ambient electronics. A single note from his piano is the first thing we hear on Gasping_Sighing_Sobbing, the space left by its decay unexpectedly filled by a synth arpeggio that quickly fades away as the piano returns with a balladic chord sequence.

Like her frequent collaborator Jim O’Rourke, Ishibashi possesses the virtue of patience, recognising the beauty of lingering at length in a single musical environment. Throughout its 40-minute duration, Gasping_Sighing_Sobbing remains lost in this maze of obstructed and fragmented piano balladry. The musical surface is in one respect placid, but close listening reveals dynamics and processes that are deeply strange: the resonance of a chord dying away is frozen, expanding to become a cloud that suddenly makes way for the piano’s return; or the piano is looped into a ticking glitch or a time-stretched shudder, momentarily sinking under lapping waves, distant bells, and snatches of conversation. Ishibashi’s subtle vocals and synths colour the piano passages like views through distorted glass. The metaphor of cinéma pour l’oreille is perhaps overused in discussions of the musique concrète tradition, but here the visual associations are almost unavoidable: especially when Daisuke Ijichi joins on upright bass, it’s hard to shake the cinematic image of a smoky jazz bar—shown in a sequence, perhaps, that cuts repeatedly to the musicians’ and audience’s thoughts and dreams. Like much of Ishibashi’s work, this collaboration with Hiroshi Minami is inconspicuously radical, shaped at the deepest level by electro-acoustic procedures even as it luxuriates in melancholic beauty.

The album comes at a time when connection is needed more than ever. A generative connector and community leader Allison Russell, alongside production team Dim Star, cast a creative circle of collaborators to bring the songs to life, emerging from honest, raw dialogues between friends, lovers, chosen family, humans. The new record features Norah Jones, Joy Oladokun, Kara Jackson, Denitia, Ruby Amanfu, Devon Gilfillian, Kashus Culpepper, Brittney Spencer, Sara Watkins, Kyshona, Julie Williams, Chibueze Ihuoma and Ahya Simone. Available on "sea foam" coloured vinyl and digipak CD editions

Houndmouth frontman Matt Myers, whose band spent the previous decade blending rock & roll and American roots music into radio staples like the chart-topping, platinum-selling "Sedona," struggled for two years to finish newsongs

At once scathing and stirring, the sharp, insistent riffs go hand in hand with elegant melodies that never outstay their welcome. The aggression and poignancy is beautifully managed with plenty of variations provided to highlight those emotions at the right times. After experiencing the turmoil of life, the aching pain in the melodies is all too palpable. "No Plenitude Without Suffering" is a heartfelt, meticulously put together, pristinesounding debut from a veteran musician that is bound to stand the test of time if only on the basis of the sheer quality of melodies contained within.

Trha is the most enigmatic and visionary creation of Damian Ojeda, an American homebody known for his project Sadness Trha navigates the depths of atmospheric black metal, dark ambient, and ethereal sounds, creating a bridge to an imaginary world called Endlhetoneg.

Riff-driven and immediate, MALIST's style is rooted in the best Atmospheric Black Metal imprint, although experimenting with Post-Metal passages and modern-oriented melodic approaches Often epic and fierce, "Eternal Echo of the Fall" allows the listener to experience the perfect balance between anger and melancholy, as well as a raw, suggestive quality, thanks to mutable sections that float between slow, magical atmospheres and more fiery, aggressive ones. A particular attention to arrangements and a certain amount of ideas seal this album as an intriguing musical journey, in which each song has distinctive traits when compared to the others.

Katatonia was formed in 1991 by Anders Nyström & Jonas Renkse. Their debut album, ‘Dance Of December Souls’, was released in 1993, gaining the band recognition for their eclectic brand of gothic doom/death metal & joining acts such as Paradise Lot & My Dying Bride as one of the genre's defining bands. Over the years, Katatonia evolved beyond their more extreme metal origins to become one of the pinnacles of the progressive metal genre.

‘Viva Emptiness’ was Katatonia’s sixth studio album & is considered among the band’s strongest works; a step up even over the seemingly insurmountable greatness of previous release, ‘Last Fair Deal Gone Down’. The album was recorded at the famous Soundtrade Studios (part of the 301 group) in Stockholm in October/November 2002 & released the following year; further refining Katatonia’s unique & poignant brand of melodic dark rock & metal.

This edition of 'Viva Emptiness' features the original 2003 audio mix, which received a recent half-speed master courtesy of Abbey Road Studios, London, & is presented on black vinyl. The release contains the original artwork from Travis Smith.

Across landscapes of electronica, ambient textures and jazz improvisation, Be Quiet unfolds as an intimate, spatial set of recordings - built on proximity and contrast, where different cultures, disciplines and sonic identities meeting Moalvaer's unmistakable trumpet voice. The album is accompanied by a documentary film directed by celebrated Norwegian filmmaker Per Manning, capturing the process, environments and relationships behind the music, and informing the project's visual world. Be Quiet unfolds as Molvaer steps into each collaborator's space, responding in real time and shaping a body of work that remains fluid, intimate and constantly in motion.

Finnish multi-instrumentalist Simo Hakalisto makes mosaic music of strings, bowls, bells, reeds, wind, water, and obscure electronics, threaded in subtle currents of color and texture. The title of his latest, Toinen Luonto (Finnish for “second nature”), alludes equally to Shakali’s earthen, tactile soundworld and Hakalisto’s deepening comfort with his craft.

The album’s eight songs feel coaxed as much as composed, a web of resonances set in motion and allowed to simmer, build, or billow. Vibrations and silences unspool and intertwine, alternately pointillist and diffuse, attuned to some hidden harmony of the spheres. In addition to his own repertoire of rare instruments (including a 36-string kantele, built by Hakalisto’s grand-uncle), several notable collaborators contributed to Toinen Luonto: saxophonist Julian Overall; Hakalisto’s partner in the duo Lunar Horns, Timo Juntunen, playing udu and percussion; American experimentalist Roy Werner; and Belgian ambient flute samplist Les Halles.

In his most self-aware and sonically refined work to date, JORDY returns with In Retrospect—an 11-track journey through the clarity of hindsight. Transitioning from a breakup record into a manifesto on healing, the album captures the "push-and-pull" of turning 30 and finding power in the wreckage of the past.

Known for his unmistakable blend of "pop precision" and vulnerable storytelling, JORDY moves past the guilt of time wasted to celebrate the person he has become. This is an album about finding yourself again after the noise fades.

In Retrospect is a love letter to the music that shaped a generation. Sonically, JORDY pays homage to his roots, blending the infectious energy of early 2000s pop-punk and Hilary Duff-era bubblegum with the high-gloss production of modern synth-pop.
JORDY commented, “In Retrospect started as a breakup record, but it quickly became something much bigger. It turned into an album about healing. About growing. I think when people find themselves stuck in bad relationships, they often blame themselves for not leaving sooner. They carry guilt over the time they feel they’ve wasted. But writing this album helped me see it differently. The moment I chose to leave the toxicity behind, I felt like I found myself again. I got healthier, mentally and physically. I gave myself permission to mourn the life I thought I’d be living at 30, the future I imagined as a kid. I found peace in remembering that nothing is ever as serious as it feels. I found my power again. In retrospect, the pain and suffering may have been the very thing that saved me.

“Sonically, this album pays homage to my roots - to my younger self blasting Hilary Duff and pop punk bands alone in his room. It’s nostalgic. It’s the kind of music I love to listen to. It feels more like me than anything I’ve made in a long time. It’s funny and catchy, vulnerably heartbreaking, and beautifully hopeful all at the same time. It’s exactly where I am right now,” he added.

Whether you’re cheering for Montreal or Boston, Hollanov always comes out on top. Relive every beat of Shane and Ilya’s yearslong rivalry--turned--romance with the official Heated Rivalry soundtrack on vinyl, featuring a curated selection of needle--d-rops from the series by Wolf Parade, Feist, t.A.T.u, Harrison and more, alongside selections from Peter Peter’s pulse-pounding, heart-m-elting original score, from the Vegas penthouse all the way to the cottage.

Pressed on two striking block-c-olored discs (Montreal Metros Blue/Red and Boston Raiders Black/Yellow), the deluxe gatefold edition includes printed sleeves, two trading cards, a fold-out poster, and liner notes by show creator Jacob Tierney.

Foreign Tongues, the new album from The Rolling Stones, is an incredibly vibrant 14-track collection arriving less than three years after the band’s universally acclaimed, GRAMMY-winning album Hackney Diamonds, which topped charts worldwide and achieved multi-platinum status. The new album is introduced by the upbeat and infectious lead single In The Stars.

Leading up to the announcement, the band subtly built anticipation around the project, including the limited white label release of the track Rough and Twisted, issued exclusively on vinyl under the name The Cockroaches. Circulating among fans and collectors, the release has already sparked excitement and speculation about the sound and direction of Foreign Tongues, offering an early glimpse into the album’s raw and experimental energy. Recorded during an exceptionally creative period, Foreign Tongues was brought to life in under a month at Metropolis Studios in West London, with Mick Jagger, Keith Richards and Ronnie Wood reuniting with GRAMMY-winning producer Andrew Watt, who also helmed Hackney Diamonds. The result is a dynamic and forward-looking record that captures the band’s unmistakable sound while venturing into new sonic and lyrical territory—further cementing their unmatched legacy.

The album showcases standout performances from Jagger, Richards and Wood, alongside their long-time collaborators, including Darryl Jones, Matt Clifford and Steve Jordan. It also features a special guest appearance from Charlie Watts, recorded during one of his final studio sessions before his passing in 2021. Additional contributions come from an impressive lineup of guest artists, including Steve Winwood, Paul McCartney, Robert Smith of The Cure, and Chad Smith from Red Hot Chili Peppers.

Speaking about the recording process, Mick Jagger said: “I love doing these recording sessions in London at Metropolis. It was a very intense few weeks recording Foreign Tongues. We had 14 great tracks, and we worked as quickly as we could. I like the room there because it’s not too big, so you can really feel the passion in the room from everyone.”

Keith Richards added: “The album Foreign Tongues has a connection to Hackney Diamonds, and it was great to be working in London again and to have that London vibe around us. It was a month of concentrated punch. For me, it’s all about the joy of it. I’m blessed to be able to do this—may it continue for a long time.”

Ronnie Wood commented: “The atmosphere in the room was so creative, and the whole band was in top form throughout the process. Very often, we nailed it on the first take. I hope everyone will love it.”

The album’s striking cover artwork is a painting created by the acclaimed American artist Nathaniel Mary Quinn

The scope, variety and ambition of Ebbb’s debut album Shallow Hits is clear from the off. “Come Alive” whirs into being quietly before morphing into a sun-kissed, radiant piece of calypso-esque electronic pop; the Latin-flavoured “Now You Know” feels destined to soundtrack sun-drenched festivals this summer; “Shallow Hits” is as deft and detailed as it is big, bold and euphoric; while the wonky yet propulsive charge of “Side On” sounds like a drum ‘n’ bass club and church choir combined. A fervent eclecticism and unpredictable restlessness underpins the album. Latterly the record dives into the moody technoid textures and multi-layered harmonies that characterised their debut EP All At Once - exemplified by ‘Youth’ and the closing track “I’m Not Enough” that lands an emotional gut punch to an album that is already littered with them. However there’s a remarkable coherence and identity that underpins the album. Ebbb are exploring far and wide, deep and vast, yet they do so via an approach that remains unmistakably them.

Der aus Sydney stammende Soul-Revival-Troubadour Don West – mit knapp 3 Mio. monatlichen Spotify-Hörern - veröffentlicht sein Debütalbum "Give Me All Your Love" parallel zu seinen ausverkauften Tourneen durch Europa, UK und seinem Heimatland Australien. Australiens einziger Spotify Radar Artist für 2025 wurde bereits für die Australian Independent Records Awards in der Kategorie "Beste Soul/R&B-Veröffentlichung" und für den APRA AMCOS Award in der Kategorie "Meistgespieltes Soul/RnB-Werk" nominiert und erreichte Platz 6 der australischen ARIA-Charts.

"Wenn Sie sich ein Gedankenexperiment gewünscht haben, das berauschend sinnliche Soulmusik aus der Blütezeit von Stax und Motown mit dem Charme eines angesagten Frauenschwarms verbindet, dann hat Don West die harte Arbeit für Sie erledigt; er ist die Antwort." – Onestowatch

o Standard Edition black heavyweight vinyl
o 44 tracks from the 2025 sci-fi RPG
o Each disc covers one of the game's major factions
o Art Nouveau-inspired artwork
o Widespined outer sleeve
o Printed inner sleeves

Obsidian Entertainment, Xbox, and Laced Records present the official vinyl release of The Outer Worlds 2 Original Soundtrack, a sanctioned audio record of Arcadia's most influential systems, ideologies, and approved listening experiences.

The specially mastered tracks span three LPs presented in deluxe Art Nouveau-inspired packaging. The collection captures daily life in the colony-where progress is monitored accordingly, optimism is responsibly distributed, and deviation is resolved through established channels.

Volume 001: Truth, Justice, & Dispute Resolution introduces the sound of arrival of the Earth Directorate. Sweeping orchestral themes and restrained electronic textures underscore exploration, investigation, and the reassuring sense that Arcadia's instability is both anticipated and accounted for.

Volume 002: Wireless Free Arcadia represents Auntie's Choice at peak efficiency. Bright melodies, big band swing, and relentlessly cheerful compositions promote comfort, productivity, and sustained consumer confidence. Freedom is included. Continued satisfaction indicates proper use.

Volume 003: Mental Enlightenment & Refreshment pairs the Protectorate and the Order of the Ascendant. The Protectorate asserts control through ceremonial authority, rigid rhythms, and formal arrangements devoted to discipline, doctrine, and public order. The Order of the Ascendant follows with colder, more abstract compositions focused on empirical certainty, controlled experimentation, and outcomes unburdened by sentiment.

Composed by Oleksa Lozowchuk, Antonio Gradanti, and Jim Bonney, the soundtrack of The Outer Worlds 2 blends cinematic scoring, period-inspired styles, and sanctioned cultural messaging to reflect a colony guided by ambition-and the systems entrusted to manage it.